carlyn yandle
  • about
  • crafted objects
  • public art
  • painting
  • the creative process
  • exhibitions
  • contact

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

5/26/2018

Comments

 
Picture
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.
Comments

Art student's off-grid heater would make quite the gift

12/19/2014

Comments

 
Dear Santa,

I know I haven't written since I was a kid, and when it comes to wants, I'm pretty much good. Unlike a lot of my neighbours who rent homes that are slated for demolition in the coming year or who have to hit the food bank at the end of every month when the money runs out, I'm safe and secure — for now.

You see, I'm a bit of a prepper. I worry about the security of all our food and the hikes in cost of living in the era of climate change so I've been doing workarounds for a lot of that. I have a kitchen garden and my main way of getting around is by bike. My work- and social life surrounds making, mostly with materials that have already served their primary purpose. If the power grid or the banks fail, I can at least charge up my bike lights and headlamps with my Biolite camp stove, using bits of cardboard and twigs so I can get out there and be of some use. My one weak spot, though, is heat. Condos with wood-burning fireplaces being a rarity in these parts, I would have no choice but to go outdoors and hang by the bonfires in the streets. 
Picture
But now I see there is the Egloo, a table-top terracotta dome-thing that can throw off 70C degrees of radiant heat using just a few votive candles. Pant! Pant!

It's the brainchild of Marco Zagaria, a student at the Academy of Fine Arts in Rome. Trouble is, it's not quite available yet. Zagaria has been hand-making the prototypes on a potter's wheel (promo video below) and is currently crowd-sourcing funding — already surpassing his goal by 15 per cent at the time of this writing — to have them mass-produced. So here's where you come in, Santa. I don't know if I can wait, what with us all teetering on this edge of the Ring of Fire and seismologists referring to the imminent major earthquake as The Big One. I figure if you can squeeze your girth into a gas fireplace exhaust vent you can put an Egloo under my tree pronto. 

However, as is my nature, I am prepped for the disaster of that not happening as well, so I've sourced some of Zagaria's own research and have latched onto a snippet of his virtual collaboration that he tagged as one of his YouTube 'favorites', a simple arrangement of one clay plot bolted inside another, resting on some thin cinderblocks. (See YouTube clip, at bottom.) It ain't pretty, but it will do the job in a pinch and uses stuff in my immediate vicinity.

Just goes to show, it takes a creative like that Italian art student to arrive at that balance between form and function that marks brilliant industrial design, which begets attraction which begets demand which begets profit motive which begets financial backing which begets wide-scale production which begets marketing to preppers like me. 

What am I saying? — you're Santa. Surely you know all about the value of artists in economics and sustainability innovations. 

Wishfully,
Carlyn


Comments

QR button blanket: Epic fail or a larger reading?

3/21/2014

Comments

 
Picture
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.

Picture
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.

Comments

Discarded doilies demand attention

8/9/2013

Comments

 
PictureWrap (I), polyethylene fibre, 96" diameter
In my fourth-year sculpture class venerable artist and (now newly-retired) Emily Carr instructor Liz Magor took one look at my first installation of a kazillion doilies stretched across the cavernous classroom and said, "You seem to be in love with doilies. Maybe it's time to break up and find something else to love."

It was just the kind of motivation I needed to embark on a three-year challenge to bring the thrift-shop throwaways into the gallery fore.

PictureWrap (II), polyethylene fibre, 96" diameter
I admit I am in love with spidery, handmade doilies. My hands barely know the work that goes into their tiny filigree patterns. Following a complex pattern is a highly meditative exercise in concentration, patience and commitment. Their circular designs reflect the mathematical patterns of coral, brain, bibb lettuce.

But the real power of those little doilies for me is their symbolism. Each one represents its maker, invariably an older woman who has clearly worked this way with her hands for many, many years, who probably learned from her mother, who learned from her mother. When I spot them in heaps in a plastic basket on a thrift store shelf, 50 cents each, I am quietly horrified. How can all these humble labours of love, these overlooked objects of household protection, be reduced to almost no value? And am I still talking about the handmade items or their makers? I've been tangling up the two for a long time — for too long, some might say.

PictureFlo (I), acrylic on canvas, 60" x 60"
For three years I've been pushing the doily into new dimensions, trying to make the invisible visible. Mixing them up with industrial materials like mortar and Tyvek. Using patterns from the back of 1950s Ladies Home Journals to turn eight-inch-wide doilies into eight-foot-wide doilies. Messing with the macho painting conventions of Abstract Expressionism from the same era.

The show went up at the Queen Elizabeth Theatre lobby last week. I don't know what the concert-ticket-holders will think of giant doilies hanging from railings, the small sculptures of unfathomable petrified doilies or painted fields of doily patterns, with names like Flo (after my grandmother with skilled hands and a bold spirit) and Persistent Grey.

PictureRavages (I), found cotton doilies, mortar, dimensions variable
I'm sort of resigned to the idea that many will find it all weirdly decorative. Maybe Magor would say that now I really need to find another object to love. But for me it's a mission accomplished. I've somehow managed to fool everyone with the promise of Art and filled the pristine, privileged gallery space with doilies.

Is my love affair over? I'm trying not to think about it too much. Over-thinking has never helped me.




Unlaced continues at the Queen Elizabeth Theatre until Sept. 23, 2013. Gallery Hours: during QET performances or by appointment. Contact: Connie Sabo, gallery curator, 604-505-4297

Comments

Free store in Vancouver — finally!

7/19/2013

Comments

 
PictureImage found at vancouverisawesome.com




I've been thinking for a long time that Vancouver needs a Free Store, just like the most popular 'retail' store on the Gulf Island of Lasqueti. And now there it is, inside the old vault of a former dim sum warehouse in the 800 block of East Hastings.

The East Van Free Store is a community/art project hosted by the Red Gate Collective, with the whole point being actual social engagement (as opposed to virtual a la craigslist) and it's getting some media attention (CBC radio interview with Collective member Julia here). 

PictureScore! Felt pens and new Moleskin.
It's also about to get more public attention after its imminent relocation to the storefront of this studio and performance space. At the time of this writing the old safe room is open Tuesdays from 4-10 pm but I think this thing could take off due to popular demand.  I dream of a chain of Free Stores, with the City offering grants to manage them, as a way to reduce landfill — that is, if the giant thrift store chain eight blocks east doesn't start squawking about unfair market advantage.

Because really, it's hard to go into retail battle with a free store, a potential paradise for everyone from hoarders who will find no barriers to bingeing on stuff to minimalists who need to purge to feel normal, and everyone in between — including makers in need of raw materials.


Picture
Lasquetians have been enjoying the social hub that is the purpose-built Free Store (and recycling depot) for many years. It's almost impossible to not stop by, for the conversation and the conversation pieces often donated anonymously. The social engagement mostly happens on the sheltered porch lined with shelves full of books and whatnots as the clothing part of the store is only open two days a week.

A few gems — the truly useless, confounding items — make the Free Store Gallery, an educational/art feature of the islanders' community website. 

This is where keen-eyed local photographer Kristen Charleton posts her images of Free Store junk (her portrait of a donated rusty tin can of utensils is below) in a sort of lighthearted shame-the-dumper-donor series, evidence that even the truly undesirable has value.
Picture
I've long relied on the Lasqueti Island Free Store as an important supply of raw materials for various projects.
A sampling of works made to comfort and discomfort:
Picture
Free Store Flannel Quilt, 2003. Found cotton flannel shirts, fabrics.
Picture
Rag rug, 2005. Found cotton fabrics, 40"W x 72"L
Picture
Detail of 'Work II", 2010. Flannel work shirts on burlap, 32"W x 32"H
Picture
Seismic Rug, 2011. Found mixed-fibre fabrics. 60" diameter.
Picture
Ravages, 2013. Hand-made cotton doilies and mortar, approx. 18"
Comments

That's one mother of another need met

6/7/2013

Comments

 
Picture
In case you want to know, this is a picture of what is called beaching gear  — at least in Prince Rupert, B.C.

It's the kind of passing sight that makes a city girl demand  that the car we're in be stopped and reversed. Now. Because even though I had no idea what I was looking at, I knew that this was another fine example of one of my favourite truisms, "Necessity is the mother of invention." Photos must be snapped so someone who knows about these things could explain.

I found just the guy, a cousin-in-law. He knew the owner of this curious object well. (It's a small town.) "Oh, that's in Seal Cove," he said. His buddy needed to be able to tow his... (I want to say seaplane here, but that might not be right)... out of the harbour, and this Caddy, with its front-wheel drive, was just the jalopy for the job. But how does it stay up, with only two wheels?, I asked (and then again, not quite getting it). It was finally established that some metal bits forged to the front end provide enough counter-weight for the thing to balance on two wheels. An engineering feat!

But what I really liked about this innovation was the extra effort the inventor made to make the beaching gear more, uh, seemly, I guess: the retrofitted tail lights; the back-end paint job that tied it all together. For some reason it reminded me of the stump of a leg; you know some vital working parts are missing but it's heeled over nicely.

Picture
Objects like these straddle that satisfying space between utility and art. Here in Seal Cove, it was pretty much overlooked, but plunk it down at MOMA and now we're in a conversation with more legs than this beaching gear's wheels: artist intention, context, use value versus art value, etc.

There is a certain soulfulness in these intriguing/peculiar objects that squeeze into existence between the tight parameters of lack of money or access and a pressing need. This school bus re-purposed as an underground... (tornado shelter? food cellar?) also packs a visual punch.

I'm intrigued by the happy accidents that can turn a necessary invention into an art object or an artwork into a functional object after the fact. On a grand scale it leads to some of the most enduring, visually interesting cities, like the narrow labyrinth of streets of Tokyo that trace terraced rice fields or the watery thoroughfares of Venice. This slow, organic development of an urban landscape is at odds with the speculative profit-driven mega developments currently rapidly changing my city's landscape.

But our need to negotiate these monolithic structures will result, over time, in inventions that contribute to an increasingly vibrant culture. We get glimpses of that with every passing pedaller working for Shift: Urban Cargo Delivery here in Vancouver, or as far as Bangkok's streets teeming with ever-advancing Tuk-tuks.

Innovating out of necessity creates human connections, from one guy's beaching gear in a sleepy cove outside Prince Rupert, B.C. to corporate shifts on the streets of Paris. (Take a video ride-along below:)
Picture
Image from vancouverfoundationawards.ca
Picture
Image found posted on www.modderpoel.nl
Comments

Sanitary Doily gets its 15 minutes

5/31/2013

Comments

 
PictureSanitary Doily, a finalist in the City's sewer-cover competition.
I'm deluded enough to believe I can survive on an art practice in Vancouver but I am under no illusion that my Sanitary Doily will be selected to grace the city's sanitary sewer covers for the next century.

But I couldn't resist designing my tribute to a traditional handmade use-object's chief function: to conceal and pretty-up unsightly evidence of everyday life. Sanitary Doily is a stink bid but damn if it didn't make it as a finalist among the more than 1,000 entries in the City's open competition.

The design borrows from actual patterns, with the swirling core used here to convey a flushing toilet action. (In retrospect, the swirl should be reversed. This is not Australia.) The surrounding negative spaces are reshaped as random water droplets while just managing to maintain pattern integrity. It is intended to be whimsically informative, enhanced by the prominent inclusion of the City of Vancouver into the lacework. It is conceived as an imperfect, pleasing intervention in a manufactured landscape.

Just what two designs will be selected for the storm sewer and sanitary sewer covers will be announced this Saturday afternoon, June 1, at the Ironclad Art Manhole Design Challenge exhibit at the  Interurban Gallery, 1 East Hastings at Carrall Street. (The exhibit of all design entries is now on display through June 8, 1-5 p.m. where you can vote for your favourite, or do that here.)

I did a little fisty air punch when I was notified that Sanitary Doily was not rejected out of hand, mainly because I see it as a small victory in our culture where exquisitely handmade lacework can be found heaped in plastic bins at local thrift shops, at 50 cents each. I know how much dedication is required to make a doily because after decades of practice I can just manage to crochet a crude one. To me, the way we treat those little spiderwebby lace fragments of yore is symbolic of the level of honour and value attributed to that last generation of women who mastered that domestic art form. Not so much.

PictureImage from junk-culture.com
Doilies are just another kind of mark-making, albeit traditionally in the home, so naturally I adore New York City crochet artist Nathan Vincent's crocheted manhole-cover, which makes its mark in the streets. (See more of his manly crocheted objects here.)

Meanwhile, I'm left thinking about what's next for Sanitary Doily. It won't be cast in iron any time soon, but I'm kind of loving the idea of re-injecting it with a little of the original use-object value, like Brooklyn artist Ronda Smith's NYC sewer cover throw pillows. (Or maybe it's just her pitch I love: "Who wants to snuggle up to a SMALL NYC SEWER manhole cover??? I DO!!"

Her series of domestic artworks are photo transfers of actual sewers but thanks to the wonders of Photoshop — and my Photoshop wiz of a brother — I could fudge the whole thing (see below).  

Admittedly, a Sanitary Doily pillow wouldn't have the power of her iconic, beat-up photographed objects. And anyway, I would be more inclined to turn the image into a toilet seat cover.
Picture
 

Picture
Image from Etsy.com
In the end, its actual use is more likely to be another sample of work for this website.

Good enough!
Comments

Waiting to be inspired by hoardy pile of plastic

3/1/2013

Comments

 
Picture
My not-quite-resolved plastic quilty test.
I’ve been left high and dry, marooned by a foul waste stream — a particular category of non-recycled stuff that ends up in Vancouver’s landfill.

This category consists of many boxes of rigid-plastic toy bits that my nephews leave in their wake of play. I nabbed the lot a couple of years back because I loved their indeterminate shapes, their hot colours, their embedded culture. The big plan was to turn these remnants of their childhood into a scrap-quilty, uh, thing.  I never really did have a sharp objective for the objects.

But that was before I embarked on my Great Leap Forward Toward More Space campaign in January. Now the toy detritus is the last of my hoardy habit left to face down.

I’ve done the math and have realized that the number of hours required to explore and execute the various art projects that involve all these bits encroaching on my living space probably exceeds my estimated lifespan. But I have another reason for not wanting to part with the toy parts: no one accepts them for recycling in these parts, as dude at the Recycling Hotline (604-732-9253) informed me. All non-numbered rigid plastic junk is just chucked into the landfill where they will stay intact pretty much forever. 


Picture
Photo of artist/designer Adrian Draigo from www.draigo.com.
There is another option, he said; I could drive the stuff to a monthly drop-off location in another community set up by Pacific Mobile Depots, pay $7 per big bag to take it all away for use in some plastic-lumber business down the road, or I can pay $30 to arrange a pick-up. It’s a service that is probably used by a tiny minority of households —a tiny drop of effort in the plastic tsunami.

Meanwhile, the quandary is major: Until our governing bodies stop acting like whipping boys to the global petroleum industry and start regulating against the sale of non-recyclable plastic products, we’re all left to either try to make use of the stuff that’s piling up around us or stuff it into the earth.

Many designers have put the glut of a particular waste stream to good use, creating ingenious upcycled products. London-based artist Adrian Draigo, for example, creates lighting using bottle caps — another plastic reject from most recycling programs — and LED lights. The low-energy, ambient 'Glo' light can be hung anywhere, literally highlighting the issue of this ubiquitous waste product. 

It’s a new spin on the old ‘necessity is the mother of invention’ axiom, except the need that drives this innovation is not in the resulting use-object but in reducing garbage. The key to this — and every —upcycling project is creating an object that people want, otherwise it’s just waste transformed.

My urge to use the throwaways falls more within the need to visually express short-sighted (at best) and greed-driven (more likely) global production-consumption actions. The motivation to make my scrappy sculpture starts from medium and works toward idea rather than the other way around. This compulsion to dream up an idea in order to make use of the bits feels overly opportunistic, and it's why I remain in option-paralysis over whether to keep it to maybe one day use it or let it all go. That's what happens when you're confronted by this plastic problem.
Picture
photo from www.core77.com
UK artist Stuart Haygarth made good use of what showed up in his environment with his iconic “Tide” chandelier. The suspended sphere is fabricated from the plastic that washed up on a particular stretch of the Kent coastline.

The work makes it impossible not to think of the giant garbage patches swirling around the planet.

For more on that staggering reality, hit this Ted Talk:


Comments

This week's blog is brought to you by the word Juxtaposition

11/23/2012

Comments

 
A friend of mine was a little obsessed with cleaning her carpeting in the condo she brought brand new several years ago.  She seemed to be at constant war with her wall-to-wall. I always assumed it was her strong design aesthetic that drove her to splurge on a top-of-the-line vacuum-cleaner but I couldn't figure out the vacuuming fetish. This month she finally broke the bank and had it all ripped out and replaced with wood floors. The installer sucked up 12 shopvac cannisters of dust from her two-bedroom unit. Clearly the carpet was installed before the unit was cleared of debris. Not really surprising if you live in a building that flew up in a condo boom, which is sort of how it happens in Vancouver.

A family member in the construction business says that when you're part of a crew that is told you have to finish up and be out of one condo project by a Friday and show up at another on Monday or lose your pay, you do more than just sweep it all under the rug; you chuck all the bits of building stuff into the walls and drywall over the problem. If it were not for the whistle-blower involved in the Athletes Village mega development the uninsulated pipes hidden behind drywall would be leaking through several buildings by now.

Which brings me to "juxtaposition," a key term in post-modernism that speaks to issues of globalism and consumerism in relation to art.
Picture
Bloom tables: Salvaged Western Red Cedar tree stumps filled with creamy organic resin
Against this backdrop of some seriously shoddy workmanship — even within those hastily-completed interiors  — is a considerable number of talented, skillful designers who spend their days creating furniture pieces of supreme workmanship and beauty, as evident in last weekend's Eastside Culture Crawl. The Bloom tables (right) by Mth Woodworks and Peter Pierobon's Plumb Pendant cedar lamps (below) lie in juxtaposition to the slap-dash boom-town antics.

Picture
Against the clutter of cranes marking the current boom, these visual poems are more than lovely use items; they provoke us to consider the role and value of art in society.
They are fully realized form and function against a speculative-market-driven built environment.


Comments

A sassy swing that ends with a punch in the gut

9/28/2012

Comments

 
Picture

I love that emotional collision that happens when faced with a great artwork.
It's that attraction-repulsion thing that sort of mutes the rest of the world for a moment while the ol' brain tries to make sense of what the heart knows: this is really something.

Like Tobias Wong's "New York Story" matchbook he designed for Alessi.
It's an immediately recognizable everyday use object, rendered almost useless. It's a visual quandary: both a tiny artpiece and a mass-marketed item — up to his untimely death in 2010, that is. Now it is clearly a rare collectable art-investment object. The object will never be used, although just the idea of watching the two 'towers' in flame would spark global memory of a horror beyond the destruction of this tiny yet weighty object.
This is the power of playing in the space between everyday things and big ideas.

It's also the subject of a current local retrospective of the young Vancouver-raised artist described in his New York Times obituary as "a designer whose outrageous sendups of luxury goods and witty expropriation of work by other designers blurred the line between conceptual art and design."

Object(ing): The Art/Design of Tobias Wong continues through to February 24, 2013 at the Museum of Vancouver. 

The uneasily-defined, sassy and provocative Tobi Wong will be remembered for being a shit-disturber — literally:

Comments
<<Previous

    RSS Feed

    browse by topic:

    All
    Abstract Painting
    Activism
    Additive
    Aesthetics
    AgentC Gallery
    Alison Woodward
    Aluminum
    Anxiety
    Appropriation
    Architecture
    Arleigh Wood
    Art
    Art Business
    Art Discourse
    Art History
    Artist
    Artist Residency
    Artist Statement
    Artist Talk
    Art Marketing
    Art Quilt
    Art School
    Art Show
    Art Spiegelman
    Assemblage
    Author
    Banksy
    Bauhaus
    Beauty
    Betsy Greer
    Big Data
    Billy Patko
    Blogs
    Blog Tour
    Bob Krieger
    Body Of Work
    Books
    Boro
    Braided Rug
    Braiding
    Bruce MacKinnon
    Bruce Mau
    Building
    Bull Kelp
    Business
    Buttons
    Carlyn Yandle
    Caroline Eriksson
    Cartoon
    Ceca Georgieva
    Challenge
    Children
    Christmas
    Cindy Sherman
    Cirque Du Soleil
    City As Site
    City Planning
    Cityspace Gallery
    Clay Yandle
    Climate Change
    Cluster
    Cob
    Cob Oven
    Collaboration
    Collage
    Colonialism
    Color
    Colour
    Commission
    Community
    Community Building
    Composition
    Conceptual Art
    Conceptual Craft
    Connie Sabo
    Construction
    Coronavirus
    Cover
    Cover-19
    Covid
    Craft
    Craft Blogs
    Craftivism
    Crafts
    Craftsmanship
    Creative Process
    Critique
    Crochet
    Cross-stitch
    Cultural Hub
    Cultural Studies
    Culture
    Culture Jamming
    Culturejammingc9d75664fd
    Current Conditions
    Cycling
    Dafen Village
    Dallas-duobaitis
    Dance
    Data-graphic
    Data-graphic
    Dear Human
    Deep Craft
    Denim
    Denyse Thomasos
    Design
    Discomforter
    Display
    Distraction
    Distracts
    DIY
    Doilies
    Doily
    Domestic
    Domestic Interventions
    Douglas-coupland
    Draw Down
    Drawing
    DSquared2
    Dude-chilling-park
    Dyeing
    Eastend
    Eastside Culture Crawl
    ECUAD
    ECUAD MFA
    Editorial
    Edward Burtynsky
    Eggbeater Creative
    Embellishment
    Embroidery
    Emily Blincoe
    Emily Carr Cozy
    Emily Carr University
    Environment
    Environmental Art
    Exhibit
    Exhibition
    Experimentation
    Exploration
    Expression
    Fabric
    Fabricating
    Facebook
    Failure
    Fashion
    Feminist
    Feminist Art
    Festival
    Fiber
    Fiber Artist
    Fiber Arts
    Fibre
    Fibre Arts
    Film
    First Saturday Open Studios
    Flo
    Flow
    Foraging
    Form
    Foundlings
    Found Materials
    Found Objects
    Fractal
    Free Store
    Fuzzy Logic
    Gallery
    Gallery-row
    Garden
    Garment
    Gentrification
    Gill Benzion
    Gingerbread
    Globalization
    Glue
    Grad 2020
    Graffiti
    Granny Square
    Granville-island
    Green Space
    Grid
    Guanajuato
    Guerrilla Art
    Guerrilla Girls
    Halloween
    Handmaking
    Hand Stitching
    Hand-stitching
    Handwork
    Hashtags
    Haywood Bandstand
    Healing
    Health
    Hearth
    Hideki-kuwajima
    Homelessness
    Hot Art Wet City
    Hybrid Thinking
    Ian Reid
    Ian Wallace
    Ideas
    Identity
    Images
    Incomplete Manifesto For Growth
    Industrial Design
    Industry
    Innovation
    Inspiration
    Instagram
    Installation
    Intervention
    Invention
    Irena Werning
    Janet Wang
    Jeans
    Jeff Wilson
    Joel Bakan
    Joseph Beuys
    Joseph-wu
    Journalism
    Joyful Making In Perilous Times
    Judith Scott
    Kim Piper Werker
    Kimsooja
    Knitting
    Knots
    Knotting
    Kyoto
    Labor
    Labour
    Landon Mackenzie
    Landscape
    Leanne Prain
    Lecture
    Lighthouse
    Liz Magor
    Log Cabin
    Logo Sweater
    LOoW
    Lost Painting
    Lumiere Festival
    Lynda Barry
    Macrame
    Maker
    Making
    Malcolm Gladwell
    Male Gaze
    Maquette
    Marie Kondo
    Marketing
    Mark Lewis
    Martha Rosler
    Masks
    Material Exploration
    Mathematics
    Maya
    Media
    Meditative
    Metalworker
    MFA
    Mister Rogers
    Mixed Media
    Monique Motut-Firth
    Monte Clark
    Mosaic
    Motivation
    Mt. Pleasant Community Centre
    Mud Girls
    Mural
    Natalie Jeremijenko
    Nature
    Needlework
    Neon
    Net
    Network
    Networking
    Neuroplasticity
    New Forms Festival
    Newspapers
    Nick Cave
    Noah Goodis
    North Vancouver
    Omer Arbel
    Online Talk
    Openings
    Organization
    Origami
    #overthinking
    Paint
    Painting
    Pandemic
    Paper
    Paper Sculpture
    Parkade Quilt
    Patriarchy
    Pattern
    Pechakucha
    Pecha Kucha
    Perception
    Performance
    Performance Art
    Photography
    Playing
    Political Art
    Polly-apfelbaum
    Pompidou
    Poodle
    Port Coquitlam
    Portrait
    Process
    Production
    Profession
    Project
    Protest
    Psychedelic
    Public Art
    Qr Code
    Quilt
    Quilt Block
    Quilting
    Rachael Ashe
    Rachel Lafo
    Ravages
    Raw Materials
    Rebar
    Recycle
    Research
    Residency
    Resurge
    Retreat
    Rhonda Weppler
    Richard-tetrault
    Richmond Art Gallery
    Right Brain
    Rondle-west
    Rug
    Ryan-mcelhinney
    Safe Supply
    Safety
    Sarah-gee-miller
    Sashiko
    Saskatchewan
    Scaffolds
    Scale
    Scraps
    Sculpture
    Seaweed
    Semiotics
    Sewing
    Sharon Kallis
    Shawn Hunt
    Shigeru Ban
    Sketchup
    Slow Craft
    Smocking
    Social Engagement
    Social-engagement
    Social History
    Social Justice
    Social Media
    Soft Sculpture
    South-granville
    Space Craft
    Spore
    Stitching
    Storage
    Street Art
    Studio
    Styrophobe
    Subversive Stitch
    Surrealism
    Surrey
    Tagging
    Talking Art
    Tapestry
    Tattoo
    Technology
    Terry Fox Theatre
    Text
    Textile
    Thrift Stores
    TJ Watt
    TO DO
    Tools
    Toronto Design Offsite
    Toybits
    Trash
    Trash Art
    Trevor Mahovsky
    Typography
    Tyvek
    Unbridled
    Unfixtures
    Upcycling
    Urban Design
    Use Object
    Use Objects
    Utility
    Vancouver
    Vancouver Art Gallery
    Vancouver International Airport
    Video
    Video Tour
    Visual Field
    Visual-field
    Visual Language
    Wallace Stegner House
    Wall Hanging
    Waterwork
    Weaving
    William Morris
    Wood
    Wool
    Work Wraps
    Wrap I
    Wrap II
    Writing
    Yarn Bombing
    YVR
    Zaha Hadid
    Zendoodle
    Zero Waste Art
    Zero-waste Art

    Archives

    August 2022
    June 2022
    November 2021
    April 2021
    September 2020
    April 2020
    December 2019
    November 2019
    September 2019
    August 2019
    July 2019
    June 2019
    April 2019
    November 2018
    July 2018
    May 2018
    November 2017
    September 2017
    June 2017
    April 2017
    March 2017
    February 2017
    December 2016
    November 2016
    September 2016
    July 2016
    March 2016
    February 2016
    January 2016
    December 2015
    November 2015
    October 2015
    September 2015
    June 2015
    May 2015
    April 2015
    March 2015
    February 2015
    January 2015
    December 2014
    November 2014
    October 2014
    September 2014
    August 2014
    July 2014
    June 2014
    May 2014
    April 2014
    March 2014
    February 2014
    January 2014
    December 2013
    November 2013
    October 2013
    September 2013
    August 2013
    July 2013
    June 2013
    May 2013
    April 2013
    March 2013
    February 2013
    January 2013
    December 2012
    November 2012
    October 2012
    September 2012
    August 2012
    July 2012
    June 2012
    May 2012
    April 2012
    March 2012
    February 2012
    January 2012
    December 2011
    November 2011
    October 2011
    September 2011
    August 2011
    June 2011
    May 2011
    April 2011
    March 2011

Powered by Create your own unique website with customizable templates.
Picture