Textile Art vs. Fiber Art -- Which words do you use?

Work by Nancy Crow

I have long defined my work as fiber folk art and it is usually a comfortable way for me to talk about what I do in my studio. Because I communicate with my collectors over the Internet, I have learned that art lovers in different parts of the United States and abroad use other words to describe the kind of objects/art I create. Outside of the conversation about the relative value of art as opposed to craft, which is a subject that often carries a bit of tension, I've been thinking about the choice of calling myself a fiber artist over a similar term, textile artist. Have you ever thought about a geographical or a perceived sophistication difference in the words used?

In common usage today, any type of artwork which uses pliable, organic elements as the major material can be labeled as either fiber art or textile art, and I notice when I do an Internet search that a large variety of examples come up when either term, fiber or textile, is used. However, I am noticing that there seems to be a difference between artworks that are created using traditional needlework techniques like stitching, weaving, spinning, felting, or quilting and those artworks that are made using a more expansive toolkit, like combining fiber with other mixed-media, adhesives, heated tools, or non-organic structural elements. Another clear reference to the word textile can be seen in ancient textiles to those of the 21st century, where a lineage of makers/artists created yardage of fabric, each baring the fingerprint of the artist.

Work by Miriam Schapiro

How does any of this history or word play make a difference in my profession? I believe that the way in which a person thinks about him or herself is a foundational element to whatever it is they do to earn a living. I am a professional artist, meaning my creative process is undertaken in a manner that addresses my economic goals and traditional business practices. When I use certain words to describe my artwork, words that feel apologetic or self-limiting, this has an impact on not only my own self expression but also on the manner in which the public views my work. I do sometimes feel hesitant to tell others I am a fiber artist, as if I am a poor cousin visiting the art world. Does this ever happen to you?

I believe that the art community, and especially the textile art community, has a strong heritage of skills that are passed down through both professional communities as well as domestic circles, and my work as an artist in in keeping with those who came before me. That means I can stand with some of my favorite artists who broke free of traditional and perhaps limiting art world boxes and now represent innovation in the fiber and textile arts--favorite artists like Nancy Crow and Miriam Schapiro come to mind.

Work by Georgianne Holland

When you consider making, buying or talking about fiber art, I hope that you also hold an expansive view about what it can mean within the larger artistic community. Beyond gender, beyond education, beyond cultural boundaries, there is a space for creativity using pliable organic fibers that speaks to humans in a very textural, seductive and accessible way. I have grown to think highly of all of this manner of communicating beauty and ideas, as I'm sure you have as well, and it is my hope that others will also help us sing the praises of creativity, using whichever words and mediums  ring most true.

Thanks for stopping by,
Georgianne

Find my work at www.NestleAndSoar.com

Studio Scene

Please join me as I say "I cannot believe that it's July!"

Hasn't the month of June just flown by? Work in my Nestle and Soar Studio has been keeping me busy, and I guess that is one of the reasons why the past 30 days is a fog. I think we should all remember that it is summer time and for most of us, that means fun times outside (at least some of the time). I simply should not spend so many hours this time of year standing inside my studio.

I have ventured outside a bit though, and gardening is a great way to do that! I am using the veining in the leaves I've been studying to practice continuous-line machine quilting. I recommend that you look into the machine quilting classes and books offered by Heather Thomas of Wild Heather Designs, who teaches nationally and writes books that are extremely helpful to contemporary quilters. I took her popular class, Doodle & Dance, with some great girlfriends at the Golden Fiber Arts Studio, and with her inspiration, continue working on the continuous-line machine quilting she taught that day.

It is almost time for me to place another large wool roving and Paternayan order for the studio. I love selecting the colors and imagining the softness of the fibers. One of my favorite roving suppliers is right here in Colorado, and I know that she has been in the thick of things with the wild fires near Colorado Springs. Grace of  Larkspur Funny Farm and Fiber Art Studio has needed to be prepared to evacuate for the past week. She lovingly runs a farm of animals that supply her with the wool to dye and sell luscious fibers for artists like myself. I highly recommend her and hope you will have a chance to check out her Etsy shop. Once things calm down, and they will for Grace and all the fine folks near the burn areas of Colorado, she will have fascinating tales to tell on her lovely blog. Hang in there Grace!

I do hope that everyone has a wonderful month of July. Let's all take the time to notice the beauty that is everywhere around us! Thank you for stopping by my studio,
Georgianne

Landscape Series at Nestle and Soar

It is important to flex my creative muscles. It is also important to try new techniques and jump into that trying with both feet! Today in my studio I am trying new perspectives as I work on the second in a series of nine wall tapestries, each measuring 16" x 20", and each challenging me in many ways.

The first piece in this series (above) and the centerpiece of the group of nine tapestries is the first photo in this post. The next two photos show you the second piece in the series, and I'm calling the whole group Tree Party. If you look at the right side of photos 2 and 3, you can see the beginnings of the background foundation for the third tapestry in the series. Do you see how they connect? I am no longer working one piece at a time in this series...I am working three at a time to better create a horizontal connection within the group. I'd love to know what you think!

I am probably about eight hours into the second tapestry and I want to have it complete on May 28th to show my peers at the Design Exploration in Golden. I'll be sure to post a photo of the finished piece! When it is complete, that will be two down and seven more to go! There will be birds involved in the entire design...but that's probably not a surprise. Wish me luck!

Thanks for stopping by,
Georgianne

Where Did You Learn the Needle Arts?

My mom and I decorated this light table 15 years ago to trace patterns!

I am asked where I learned to sew, embroider, felt, quilt, and knit. Perhaps you are, too? Because I'm in my 50s, I was lucky enough to have Home Economics as part of my junior high school curriculum. Most of the women who ask me where I learned to sew are young enough, that they had no Home Economics teacher in school. They may not know a single person who sews. But oh yes, they want to learn!

Sewing and all the needle arts are certainly in another rejuvenation. In the 1970s, I remember my 20-something year old friends talking about how quilting was being reinvigorated as an important needle art. Quilting, as well as many other needle arts, keep cycling around in popularity. For those who make a living in creative fields that cater to women, the needle arts as an industry is not only popular, but a legitimate form of economic empowerment. Home Economics may not be taught in public schools any longer, but we all can certainly learn to sew throughout our communities!

I am fortunate to be from a family that honored and taught the needle arts for over 30 years. My parents, George and Bonnie Leman, as well as my six siblings, owned and operated a Colorado-based company called Leman Publications. We began publishing Quilter's Newsletter Magazine in 1969 and enjoyed many happy years being the family that worked as a team to teach the world to quilt. How fortunate for me to have Bonnie Leman as my mom and my inspiration in the fiber arts! She instilled in me the love of all needle arts as well as the love of joining forces with other women as they work to build a successfully creative life.

In addition to this entrepreneurial jump start, I will admit that I began sewing my own clothes at age 12. I have always loved working with fabric, textiles, and colors. Like so many women who are long-time subscribers to Quilter's Newsletter Magazine, I have been fortunate to combine my love of raising a family with operating a successful fiber folk art studio from home!

Where did you learn to sew, embroider, felt, quilt, or knit? I'd love to hear your story!
Thanks for stopping by,
Georgianne