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Materials matter, and Those of loved ones gone can live on

5/26/2018

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Clockwise from top left: Great-Grandfather Quilt; Dad's Throw; Tie Cushion. (Carlyn Yandle photos)
Materialistic. People say it like it's a bad thing.
But there's not necessarily anything selfish or hoardy or wasteful about feeling deeply connected to materials. If we all started being a little more materialistic we might not be now contending with the Great Pacific Garbage Patch or space junk. I want no part with parting so quickly from one-use-life materials when a meaningful second life is possible.

So when a couple of people dear to my heart were clearly torn about parting with some favourite clothes of their loved ones who recently passed away — one within this year, the other within 18 months — I felt it too.

These bits of cloth are interwoven with the memory of the wearer, his style, the special occasions and the everyday. Just looking at them hanging in the back closet brought the son, the wife, to tears. Some of that emotion is also about feeling at odds with what to do with it all. Yet holding onto useless things, especially in this town where we're so squeezed for space we have to go outside our living spaces just to change our mind, can even bring on some shame or panic that we can't let go, move on.

I felt the potency of the pieces too, and suggested selecting a few items to be repurposed into something that would bring comfort, and in remembrance.
The first project this spring was the Great-Grandfather Quilt, for the first of the next generation who missed meeting his great-grandfather by 9 months. The second was Dad's Blanket, which lives on one of the two matching sofas where father and son watched the baseball in his last three years. The third is a lumbar-support cushion made from silk ties that's parked on his wife's favourite reading chair.

It takes a bit of faith to allow those blazers and sweaters, ties and dress shirts to leave their dark cupboards and be subjected to my fibre-art experiments but I'm grateful they did. It was a little unnerving, plunging wool blazers into a hot-water-wash and tumble-dry, or severing several silk neckties in one swipe of the rotary cutter, but that's the deal with making and innovating: sometimes you have to take a deep breath and boldly go, risking failure.
And there is definitely failure in all of this making. Design changes happen on the fly, dictated by odd dimensions of the pieces and unpredictable fabric behaviour. (It's a thing.) Trying to wrestle slippery bias-cut silk, unstable cashmere knit and coat-heavy woven wool into submission enough to lie flat together is a test of one's patience. The trick is to embrace imperfection and keep the big picture in mind. I think about the Gees Bend quilters I saw a few years ago at Granville Island and the gospel spiritual song two of them sang at the start of their talk, and I say a little prayer myself: God I hope this works.

The other challenge is creating works that resonate with the spirit of the original wearer, so it's not just a matter of chopping up the clothing into tiny unidentifiable pieces to be re-fabricated in a generic quilt. You don't want to be too literal either, appliquéing ties into a Ties Quilt or (creepier) using every last button and pocket or (horrors) just sewing all the clothes together into a blanket or something.

Binding the one blanket with necktie fabric and appliquéing the suit labels in one corner of an army blanket backing (for the man who served in the US Army) felt like the right balance.

I post each Remembrance Pieces project on Facebook to inspire other material girls and guys, and to pay my respects to the stuff of life and to those of this life no longer.
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From disaster to 'Discomforter': 5 lessons learned

5/15/2015

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There is really no way to know whether a blanket covered in brightly coloured buttons will read until the very end of all the work so I wanted to build in the likelihood of failure. That's how I came to decide on "The devil is in the details" as the line of text that would appear on a QR code reader. If it didn't read successfully at least it would prove the rule.

But it wasn't as simple as that. The details that bedevilled me began with my big idea to use masking tape to indicate the grid instead of tailor's chalk (too dusty), disappearing-ink marker (fades too quickly) or basting (tedious).

That tape plan might have worked if I had removed it in a timely manner, like within a few days or even weeks. But when you pull masking tape off of fine white cotton sheeting after 13 months you are left with a hard, yellowed embedded adhesive residue. You scrape it, scrub it, attack it with solvents and still it does not un-adhere. In desperation, you ball up the entire quilt and chuck it into the washing machine, despite the raw edges and exposed batting. When it comes out in a tight mass of threads and shrunken batting you curse your hare-brained impulsiveness. You let out a little scream when you realize that the colours from many of those buttons have inexplicably run, bleeding all over the white cotton.  (Lesson 2: Research your materials.) At this point you roll yourself up into a little ball and go fetal in a corner somewhere until you're ready to rejoin humanity.

I knew going into my second QR Quilt project that there was a very good chance that after sewing more than 1,000 buttons into three layers of fabric the pattern may not be recognized by the QR code reader. But I also knew that I had a fighting chance after the surprising success of the readable QR Quilt: After Douglas Coupland. My quilt version of his painting, I Wait and I Wait and I Wait for God to Appear proved that a quilt composed of scraps of coloured business shirts and scattered buttons could contain a message as easily as the typical black and white grid. After several weeks of piecing over 1,000 squares together into one queen-sized square I stood back, aimed my phone at the quilt, and prayed. The sentence appeared, like a message from god.

I wanted that euphoria again. I needed it. (Lesson 1: Avoid great expectations.)
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You eventually decide that the title has suddenly gained poignancy (Lesson 3: Embrace unexpected results) so you pick away at the binding selvedge threads from the quilt-ball until you can hang the wet, lead-apron-heavy slab of fiber and plastic to dry for several days. You start to notice that the sheeting is puckering from the shrinking and is sagging from the weight of all that hard plastic in this queen-sized quilt of the damned. Turns out some of those buttons were of some early plastic vintage that were painted after they were fabricated. (Who knew?)

You attempt to find salvation from a bottle of stain-remover -- Out, damned spot! Out, I say!  -- but it looks worse. The next time you have the nerve to look at this fabricated failure you notice that -- praise the lord -- the bleaching agent has worked -- sort of. You stipple-quilt out the sags and bags and the rest of the discolouration disappears -- also sort of. You trim it square and bind it in black with a devil-may-care attitude. After it's finished you realize that the stippling was essential for creating enough rigidity to prevent the buttons from sagging when it hangs. You like the resulting topography. (Lesson 4: Innovate solutions.)

Then you air the whole sordid story on your blog, knowing that sharing the anguish is part of the process, though you regret you don't have any images that would give the full impact of the horror story. (Lesson 5: Photodocument the process, even failure.)

The title of this work is Discomforter (The Devil is in the Details). It's a cumbersome title befitting this project that took me to the edge of my sanity, or at least close enough to see that there is in fact an edge and I know I can't go there again.

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One bit, two bits, green bits, black bits

3/13/2015

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PictureToybits (green) - made from broken toys (Carlyn Yandle photo)
This may be the third or fourth column/post I've written that could come under the headline, 'Overthinking will be the death of me.' There is definitely a book in there somewhere about the power of overthinking to sabotage the creative process.

My latest overthinking sabotage occurred as I was experimenting with binding up broken toy bits (consciously not overthinking why).

I was taking care of my sister's kids while idly binding one green toy remnant to another. At some point, the curious object appeared to be done. And it was good.

It's an intriguing object but when photographed is also a visually absorbing abstract. It has richness in its ability to conflate the second and third dimensions. It is heavy with cultural reference yet lightly humorous.

I was onto something.

PictureToybits (black) - final version (Carlyn Yandle photo)
After a couple of hours I quit because it clearly would have no logical endpoint. But if there's one thing I've learned about the creative process it's to let the failures hang around and stink up the joint for a while. In my experience, the only way to get to the source of the stench is to keep it in the periphery. And a couple of days later it came to me: I was so hell-bent on the outcome I had completely negated the making, which, when referring back to the green toy-bits cluster, was the essence of the thing: play. 

I took it all apart, then started over, finding the fit between one bit to another bit, then adding one bit where it fit. (Maybe the book should be in Dr. Seuss language).

It had a beginning and an end, and the entire process was an adventure without a map. The result is a sculptural object with implied power that appears as part engine, part vehicle, part robot. It has composition, balance, architecture, intriguing sight lines and varying perspectives. It has something to tell me: Your instincts are good, keep going.

From the junk of life emerges new life.

You can see it in the above photo; it's a mess. Even as I was binding it I thought, This is not working, this is not working. Why is this not working? It has no balance, no composition. it is artless. And it was a chore from the get-go.
PictureToybits (black): first attempt (Carlyn Yandle photo)
So, like every creative I know,  the ol' mental processor starting whirring away in the background, rolling over this concept. Friends and I talk about this slightly obsessive stage when developing a new work. You're still functional in your daily routine but that whirring puts you in a slightly distracted state. It's sort of like falling in love; there's always something there to remind you of that growing passion. And when I fall in love with an idea, I fall hard. I'm consumed by the topic like the Paul Rudd character in The 40-Year-Old Virgin who can't stop talking about Amy or The Big Lebowski's John Goodman character who links any conversation to his days in 'Nam.

I've been seeing toy-bits inspiration everywhere, including in a car column in the morning newspaper. The picture of an engine reminded me of the toy-bits clusters and suddenly I was shoving aside breakfast dishes and breakfasting people and dumping my hoard of broken toys onto the table.

I will make that engine-y thing, I said. And therein lies the fatal flaw.

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Exhibit of a great mistake was just the push I needed

2/27/2015

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PictureVancouver-based creative force Omer Arbel and Monte Clark teamed up to embrace the power of happy accidents (Carlyn Yandle photo)
Last week Monte Clark gave four of us some insight into how an experiment by Omer Arbel went awry and ended up as a dazzling installation in his newish Monte Clark Gallery. 

The heavy, glittering swags appear as silver-dipped coral or precious Crown hardware retrieved after a palace inferno. The hardened bits of chaos are a dazzling example of why failure is vital in the push for new ideas and materials.

"Failure is a constant companion," says  Vancouver-based creative force Arbel, in Vancouver Magazine.

It was the perfect preface for my '3 artworks a day for five days' challenge that bounced over to me on Facebook. 

Risk is essential in my work but I don't have Arbel's creative empire to absorb expensive failures, so I turned to stuff lying around the house (a.k.a. Found Domestic Materials) in my thrice-daily experiments. The way I see it, the materials used below were already deemed waste, so if the tests didn't work out, so what? At least no new materials were harmed in the making.

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Paint chips as log cabin quilt block (Carlyn Yandle photo)

Day 2:

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"Toybits": cluster of plastic toy fragments. (Carlyn Yandle photo)
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Reorganizing broken toys with kids II (Carlyn Yandle photo)

Day 3:

Day 1:

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Re-organizing broken toy bits with kids (Carlyn Yandle photo)
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Playing with typography, New York Times Style Magazine (Carlyn Yandle photo)
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Reworking one coffee bag (Carlyn Yandle photo)
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Collages of mid-century women's magazines (Carlyn Yandle photo)
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Collages of mid-century women's magazines (Carlyn Yandle photo)

Day 4:

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Collages of mid-century women's magazines (Carlyn Yandle photo)
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Grid collage from New York Times Style magazine (Carlyn Yandle photo)
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Grid collage from New York Times Style magazine (Carlyn Yandle photo)
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Exhausted from doing grid collage using NYT magazine (Carlyn Yandle photo)

Day 5:

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Broken toy amalgam inspired by morning newspaper (Carlyn Yandle photo)
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Idea for a feature wall or screen, using inserts from wine bottle wood crates (Carlyn Yandle photo)
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'Girl with Hole in her Head' possible title of random wire-as-drawing play (Carlyn Yandle photo)
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3 artworks a day for 5 days -- and an extra challenge

2/20/2015

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Vancouver artist Connie Sabo threw the current Facebook challenge (three artworks a day for five days) to me this week. I'm taking on the challenge for the chance to create three art experimentations per day, as opposed to sharing three artworks on each of those five days. Because there's nothing like a daily deadline of three new works to eliminate my usual obsessiveness and overworking, while pushing in new directions. I call it Fun with Failure.

And just to ensure there will be no preciousness in the program I added another element to my personal challenge: none of the materials used may be new.  I'm using stuff that's already had a first use.

Here then is Day 1 of my Nothing New 3 Artworks in 5 days mission. The rest will be posted on Facebook for the next four days, culminating in a look at the outcomes of the challenge next Friday in this space.
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Coffee bag collage, 1 coffee bag, gluestick, paper, 12" x 12" (Carlyn Yandle photo)
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Typography cluster, discarded magazines, gluestick on paper, 12" x 12" (Carlyn Yandle photo)
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Paint-chip block, paint chips, gluestick on paper, 12" x 12" (Carlyn Yandle photo)
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Winter storms lead to brainstorms

1/2/2015

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A Christmas Day king tide served up some thick snarls of bull kelp and I seized on an idea.
PictureKelp Skein, in progress. (Carlyn Yandle photo)
Actually, I had no particular idea in mind; only quite a bit of wonder at the quantity of the stuff. After dragging great hunks of it back to the deck, I started to play. I organized the stuff into visual categories, and soon I was winding the tendrils into a skein, and slicing the bulbs into vessels. Some experiments were left in the elements and others brought indoors to desiccate (and hopefully not moulder and go rank).
Will my 20-pound giant ball shrivel up and break apart? Will the vessels turn into leathery cups? Time will tell and failure will be a teacher. 

In the meantime, I turn to the research portion of this playing with materials which leads to playing with ideas.

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Material test #2: Drying bulbs on a windowsill (Carlyn Yandle photo)
PictureKelp bags helped preserve harvests of shorebirds.
No surprise this high-tensile, miraculously durable, bouncy stuff has had many practical uses since ancient times.

The first nations of New Zealand called it Rimurapa, and cut into the honey-comb-like walls of the blades to create bags — Poha — to preserve and cook their harvests of muttonbird, an oily shorebird. Or they cut slits in the bags, filled them with shellfish, starfish and abalone, then tossed them in the water to seed coastal areas. Or they attached two inflated pohas and used them as water-wings in strong currents. Or lined woven reed hulls to make super-buoyant Zodiac-type vessels. The first nations in these parts transported oolichan oil.

That's all before listing all the nutritional attributes, and there was plenty of play in that bull kelp too. The high concentration of alginate makes the material a natural rubber ball.

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A high concentration of the chemical alginate creates elasticity — perfect for a ball.
PictureCalifornia maker Geri Swanson's kelp rattles are part of her nature-crafty product line.
If you image-search "use for kelp" you're hit with a barrage of ideas for thick rings of pickle recipes and a lot of crafty ways with kelp.

Among the fascinating findings are the Seattle area sound performance artist Suzie Kozawa, who makes wind instruments from bull kelp; and Everett, Washington fiber artist Jan Hopkins who combines bull kelp with sturgeon skin and other materials in her conceptual vessels.

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When a craft belies its materials the inherent beauty of that material is lost.
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Whistler, BC maker Cheryl Massey celebrates the reducing diameter of the entire length of one bull kelp stem.
But the beauty of the google-search is finding what you're not looking for, the unintended learning. That happened when I came across American artist/designer/maker Scott Constable and his manifesto-in-the-making of  ‘exuberant frugality’ (fine video in that link) that defines what he calls Deep Craft, based on the principles of deep ecology. Like Constable, I am intrigued by the inherent qualities of bull kelp and am still playing with how to make the most of those characteristics. He is thinking about bronze-casting the bulb and thick stem portions as furniture legs. I will stick to the meditative motions that will grow the kelp skein while keeping me thinking.

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QR button blanket: Epic fail or a larger reading?

3/21/2014

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After three months of sewing one donated button after another into a giant QR code, the big moment arrived this week: time to stand back and scan that baby with a reader app, translating this quilt-thing to read, "The devil is in the details."

Except it didn't read. Don't panic!, I thought, then spent the entire next day working with a photo image of the QR Button Blanket, Photoshopping in more buttons and darker buttons and bigger buttons, trying to add the minimum amount of density for the software program to register the pattern and work its magic to produce the punchline. No luck; even a sliver of white in one button cluster puts a wrench in the wholecloth works. I filed this one under the category of Epic Fail, not worth finishing it as intended, framing it in black bias binding. I do not want to create something that is 'still' good; I want the thing to be good, full stop.

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Failure demands confronting the why. Why conceive such a laborious, risky project in the first place?  Why endure the painstaking process when half-way through it was becoming abundantly clear that this was not going to 'read'?

But there is another power here, and that's tied to the process beyond the product. The achievement may lie in the endurance (in an increasingly A.D.D. world) that is not necessarily attached to the product after all. It may be in seeing it through, without the promise of a sure result. The power may lie in the humble, everyday materials and the community of women who contributed all those bits of plastic saved from the waste stream. (There should really be a global ban on production of billions of plastic buttons. Plant-based plastic, bone, wood, and leather- or fabric-wrapped tin buttons eventually return to the earth.)

But what's really starting to click in for me is the cultural reference of this button-grid design. A decade ago, it might have been viewed as an oddly arranged colour field or an abstracted grid but we're so acclimatized to codes that the pattern begs to be 'read.' The fact that this is irresolvable might be annoying. And that's interesting. 

PictureWavy Gravy, marker on synthetic velvet, 58" x 43"
The possible multiple references could be more engaging than the one answer provided by a QR reader app. There's something to be learned in the discomfort of the open-endedness.

Moments like these, I seek out the artists who have embraced what New York artist Polly Apfelbaum calls the 'tough beauty' of visually exciting works that incorporate everyday materials in surprising ways. Apfelbaum, who calls herself a bad crafter, articulates the process of hard work in this video. 

"I work all the time," she says, without a schedule and in a highly experimental way. "You make the work and then you hope for the best." 

 "It's very important to get your fuck-you back."

I'm going with that.

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Innovation can be a risky business

1/16/2014

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Coming up with new ideas is not without its hazards. The world-renowned Noma restaurant is a case in point. Chef-patron Rene Redzepi uses what grows in the area, innovating astounding food creations famously foraged from the local land and sea. Sometimes the magic works; sometimes it doesn't. He's even admitted to his own spontaneous bowel reactions to his experiments.
PictureMountains of Christmas lights headed for the grinder in Shijiao, China (Atlantic Magazine)
One outfit in the southern Chinese town of Shijiao has innovated a low-tech method for squeezing a livelihood out of the great bulk of broken Christmas lights. Making use of the empty shipping containers returning to the global export hub and North Americans' addiction to buying cheap throwaways, the strings are thrown into a grinder, then shovelled into a water bath that separates the heavier metal wire fragments from the plastic insulator bits. The metals are eventually separated into reusable copper and other metals, and the plastic is used in slipper soles. (Check out the fascinating video.)

Granted, there are problems, like the possibility of lead in the plastic that ends up cozying up to the soles of feet and the spewing pollution from copper processing.

That necessity to make a living is one mother of invention, a prime example of the hard birth of a global leader in innovation.

PictureBaled copper. Carlyn Yandle photo
Considering the glut of stuff and our continued rampant consumerism, it's becoming unconscionable to me to use materials that are not either post-market or readily re-usable. That's easy to face down in the making of sculptural objects. I find inspiration through foraging in my own environment, where culturally-weighty artifacts from spider-webby doilies to crushed copper play with concept. 

But I'm stymied when it comes to painting. I love the exploration but can't stand the materials. I rely on petroleum-based paints and resins, first-use softwood stretchers, brushes and canvasses. Acrylic paints allow me to do the layering I can't achieve in oils, creating that fine line between the handmade and digital.

PictureUntitled, 2013, Distract series, acrylic on canvas, 24" x 30" on panel.
I feel it all coming to a head: Am I willing to lay down the paintbrush to reduce my own carbon footprint? Not quite.

But I am taking a few baby steps. I've been experimenting with composing larger paintings out of my painting studies, to incorporate the patterns of both the painted surface and the piecing, not unlike a quilt made up of well-chosen materials that have outlived their original purpose.

 It may just be that necessity to reduce my consumption that pushes me into innovating in painting. Like other innovations, there will be failures and disasters. Somewhere in there is a new way to approach painting.

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Just a bad craft? Time and techonology will tell

11/29/2013

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I'm posting this picture because if I don't do it now I might cram this doomed project into a green garbage bag and stuff it where the sun don't shine: in deep storage.

 I've seen through some fraught, laborious projects in my time but I may have met my match. After months of hoarding buttons and hounding others to surrender their button jars "for art's sake" I'm thisclose to admitting this thing is a colossal waste of time.

The plan was to create a companion piece to my QR Quilt: After Douglas Coupland, a scrappy quilt translation of the artist's QR Code Paintings.

This new one will be a 'whole-cloth' quilt, where only the buttons would bind the layers. And of course it will be readable with a QR code reader app. Trouble is, since I designed this coded button blanket last year I'm starting to think that QR codes are a fleeting technology, like the fax machine. The geeky chatter on the interwebs also tells me so . So, in a few years when the industrial marketing complex has made the stampede over to some  other state-of-the-art attention-grabbing software schtick, the whole point of this project will be rendered obsolete. How did I not see the futility of trying to grapple with fleeting technology through a painstakingly slow craft method?

The inner negator has been bullying me throughout week one of sewing one found button after another onto my marked grid. It's not helpful realizing that in the unlikely event that I have selected the correct colours to read black, and have sewn in enough button-density to create a readable pattern, I'm still left with an unwashable, lead-apron-heavy quilt. I can't even dedicate it as a shroud in my final wish for a sustainable green burial, as my corpse would be cocooned in all that non-biodegradable plastic poundage.

This is normally the time when I call for reinforcements in the form of artist friends, who will invoke the usual mantra: 'Trust the process, trust the process.'

I get it and I'm going with it. See it through. One button at a time, one day at a time. The week-one picture is posted. There's no pretending it's all still just a concept. This matter of time, technology and endurance matters.





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Pushing the work, with a little help from my friends

7/18/2012

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You'd think the biggest challenge of artists is deciding what to make. But every artist I know is challenged by deciding what not to make. There are so many competing pursuits that tend to be part of the lives of creative types: gardening, music, cooking, hanging with kids and animals, communing with nature, going to art shows and performance events. So many things we'd like to dig into, so little time.
Deciding what not to make is sort of essential if you want to get any one thing actually made. There's a big, delectable smorgasbord of potential projects and processes out there and as much as I'd like to throw a clay bowl/solder silver jewelry/silk-screen/arc-weld/blow glass/wood-turn (etc.) I need to stick to a diet of work that moves my major focus forward. So I resist the temptations of reconnecting with my old Pentax ME SLR camera or singing in a group, but I do allow myself to collaborate with other artists on smaller, ongoing exercises that push my fibre/pattern-based abstraction obsession.
Which is how my friend Val and I got the idea of starting Co-Lab a couple of years ago. This involves us each doing something  to a 12-inch-square wood panel, then swapping panels so the other person can add (or take away) an element or layer, then swapping again. And sometimes again. Sometimes we go too far, and there's no going back. They are un-pre-mediated and rarely pretty, but who said pushing one's comfort zone is pretty? The results are often quite monstrous, as illustrated here with a panel we called "Monster":
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WIth only 'blue' as our over-riding theme this year I covered a panel with painted relief-work, as I was exploring casting possibilities of acrylic paint and different distressing methods.

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Val immediately thought 'reptilian skin' so added a cycloptic eye and feet evoking Eastern spiritual traditions, a theme that connects much of her assemblage work.

We've completed several panels but whether they'll ever see the light of day is beside the point. We post them on a private blog simply as a way to record the processes - the good, the bad, and the ugly.
Currently I'm collaborating with two other groups of artist friends. Mixing sculpture, painting, drawing and assemblage are not always easy, but there's something to learn in each of those mash-ups.

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