mother artist quilt maker hand stitching inner life time is material
Dorothy Caldwell, Pink Hill, 2013; Photo © Karen Thiessen, 2014 Pink Hill is one of a family of five intimate textiles installed together from Dorothy Caldwell's Silent Ice Deep Patience exhibition at the Art Gallery of Peterborough. Pink Hill, like her fellow earth ochre encrusted sisters, is about 18" X 24" and is mounted on industrial felt. Pink Hill has a subdued colour palette of black, pale yellow and pale pink. The loopy texture reminds me of a chenille bedspread and makes me wonder if the cloth was stitched unstretched versus in a hoop. Dorothy must have strong hands and wrists to pull multiple strands (possibly all six) of embroidery floss through the cotton. Dorothy Caldwell, Pink Hill detail, 2013; Photo © Karen Thiessen, 2014 It appears that Pink Hill was stitched after the black cotton was coated with earth ochre. I wonder if Dorothy mordanted the cotton with soy milk (a protein) before coating it with the ochre and if some of the ochre flake off in time. The more that I look at these deeply engaging textiles from the perspective of a maker, the more curious I am about Dorothy's process and materials. The textiles are embedded with well over 40 years of her knowledge and insights as a maker. Dorothy Caldwell, Human Trace, 2013; Photo © Karen Thiessen, 2014 Human Trace also belongs to the above-mentioned family-of-five. It's amazing that five stitched ochre-encrusted cotton textiles can all look so different. From looking at the images, I sense that each of the textiles were black prior to the stitching and painting. Did Dorothy stitch the cloth before or after adding the ochre? I imagine that ochre-encrusted cloth would be difficult to stitch, especially with such thick threads. Dorothy Caldwell, Human Trace detail, 2013; Photo © Karen Thiessen, 2014 There's much to be learned from looking slowly and carefully at the work of a master. My admiration for the work is ineffable. All photos were taken with permission from Dorothy Caldwell and the fine staff of the Art Gallery of Peterborough.
Explore venetia 27's 1798 photos on Flickr!
My recent work is the result of parallel projects carried out in the Flinders Ranges, and the Kimberly in Australia and in Pangnirtung, and Bathurst Inlet in the Canadian Arctic. I want to experien…
With so much going on here.......later on that......I've little time to post.......however........prompted by India Flint's announcement of Dorothy's class in Brisbane at our friend Roz's beautiful setting.......I was reminded of two things........My amazing experience attending a workshop titled 'Human Marks' with Dorothy......and it's location........Haystack Mountain School of Crafts in Deer Isle, Maine. Soooooooooooooo..........as we all do have trouble editing these workshop photos, I'm going to give it a try.......and then divide it by two........the amazing content of Dorothy's class (and it was 2 weeks.....of that)....and the setting (next post)...... the amazingly beautiful Haystack.......... Here goes......... Our Classroom at Haystack Dorothy's 'Board' Perusing books for Inspiration Don't ask.........really don't........ My Sample Board ....just a start and one of MANY techniques Dorothy shares Workspace Portraits A gift for Dorothy..... From a really great gang o' mark makers..... Gosh we had fun!
A small piece in the SAQA 'Masters' gallery.
My recent work is the result of parallel projects carried out in the Flinders Ranges, and the Kimberly in Australia and in Pangnirtung, and Bathurst Inlet in the Canadian Arctic. I want to experien…
I have recently returned home after my week at Shakerag Workshops in Sewanee, Tennessee. I had been there once before and it was so nice to return this warm, friendly, gracious and familiar place. It was wonderful to see some friends I had met there previously and join up with those that I was acquainted with from other areas. After teaching for a week at Arrowmont I decided to roll on down the road and be a student at Shakerag Workshops. I took a class with Dorothy Caldwell entitled Human Marks: Drawing, Stitching, Batik, and Bookmaking. What a pleasure it was to meet and spend the week with Dorothy. She is grounded, giving, gentle, and that other "g" word again - gracious. A talented artist and teacher. Textile piece by Dorothy Caldwell We began the week by making simple marks with a variety of tools. Sometimes the mark would stand on its own and sometimes it would be repeated, combined, and layered. Then we started stitching. Dorothy had conducted research in India on traditional and contemporary kantha cloth and she shared with us stories and examples of these wonderful pieces of women's work. We started stitching cloth in the kantha style that would eventually be a wrapper for the book we would put together later in the week. More mark making processes were shared. Inspiration board of Dorothy's work and processes Result of student blind stitching exercise And, then the bookmaking began. I love the woven binding that Dorothy taught us - so simple yet rich and textural. The first book we made was from the piece of paper that acted as our place mats earlier in the week - by Thursday they contained ink spills, notations, and doodles, and when torn into book pages created some interesting juxtapositions. Finally we put our week long mark making experiments together into another book. I had used the water harvesting system in the building where our workshop took place as my muse throughout the week. I was immediately taken with the lines, curves, and shapes of these structures and also the idea of reuse, sustainability and water! I sketched, drew, and made stencils inspired by these shapes and then repeated them throughout the week in our mark making exercises. What a wonderful class - the content, the teacher and my fellow students. A very kind, sharing and talented group to say the least. A visit to Shakerag is not complete without as many dips as possible in The Rez. To see more about Shakerag Workshops visit my posts from June 2014 - there are three of them and you can search in the box (upper right) or click here, here and here. Thank you Shakerag, Arrowmont and Tennessee! I know that I will return - just hope that it is sooner rather than later.
Flying Over Salt Lakes , stitching on cotton with earth ochre, approximately 13" x 16", 2013 Dorothy Caldwell has become an icon for t...
Dorothy Caldwell Canyon 2012 stitched cotton earth ochre 13 x 17 inches Dear Dorothy I just finished reading the article in the recent SAQA journal. It is very well done and I believe that it respects your work and long career. Congratulations. Dorothy Caldwell detail of Canyon I very much enjoyed reading it and re-visiting the large pieces from Silent Ice / Deep Patience, Dorothy Caldwell Before the Glaciers Melt plant dyed with stitching and applique 14 x 17.5 inches I visited the David Kaye show just before it closed in December and spent a good long while with your work there and with talking to David about our favourites in the show and about some of his own history as a textile artist. Dorothy Caldwell detail of Before the Glaciers Melt I photographed most of the pieces and plan to put up a blog post about that exhibition soon. (Thank you for your permission). Also, may I use the quotes by you that are in that SAQA article? Dorothy Caldwell Looking Up / Looking Down 2016 dyed in the Australian outback with iron oxide and eucalyptus printed and stitched cotton, 55 x 59 inches One thing that I noticed in the new work at David Kaye Gallery is the amount and variety of the hand stitched marks. Dorothy Caldwell detail of Looking Up / Looking Down Do you agree that there is more stitching in these new pieces than in previous work? I love the way that you draw with a couched line - and how sometimes just the wrapping threads have been left behind from a removed thread, evidenced by a line of dots. Dorothy Caldwell detail of Looking Up / Looking Down Masterful. Dorothy Caldwell New Growth in Pink Earth 2016 stitched cotton, pink earth ochre 17.5 x 15.25 inches In the article, you mentioned the difference beteen a painter's gestural mark and a stitcher's smaller and perhaps tighter hand muscle mark, and how you are seeking ways to make energetic marks. Dorothy Caldwell detail of New Growth in Pink Earth Dorothy Caldwell detail of New Growth in Pink Earth I shall carry this (energetic) idea forward into my own work in hand stitch. Dorothy Caldwell Silent Fog / Listening 2016 stitched cotton with ink wash 11.25 x 14.5 inches I also responded to the quote about how you initially view your work with despair but also are grateful for the flaws and mistakes as they give you a place to begin...to repair. Dorothy Caldwell Crossing the River 2016 plant dyed and stitched linen 12.5 x 9.25 inches Thanks for both these inspirational ideas. Dorothy Caldwell Outcrop 2012 stitched cotton with earth ochre 13 x 17 inches "A stitch is a mark like any other mark. It is a dot, a line, a texture. One of my questions is how the mark made with a needle and thread is similar to or different from a drawn or painted mark. The act of stitching involves the small muscles of the hand while seated. In contrast, a painter may use his or her entire body to make a mark. I often think about how to make an energetic stitch - a stitch with a sense of gesture." Dorothy Caldwell Dorothy Caldwell detail of Outcrop Happy New Year! x Judy
Dorothy Caldwell Collecting cards (journal); Photo © Karen Thiessen, 2014 In her 2003 In Good Repair solo exhibition at the Textile Museum of Canada Dorothy displayed several bound notebooks (along with white cotton gloves with which to handle them) in which she had made marks with ink and with burning/scorching. Collecting cards is a notebook in another form. One hundred and twelve cards are pinned to the wall with three-inch black specimen pins. The cards are about 2" X 3" and appear to be heavy cotton rag paper, similar to BFK Rives printmaking paper. The edges are nicely deckled and I wonder if Dorothy purchased the cards this way or if she moistened the heavy paper and then tore it against a sharp edge. Dorothy Caldwell Collecting cards (journal); Photo © Karen Thiessen, 2014 The Collecting cards are small intimate studies that Dorothy stitched, wrapped, marked with earth ochre, ink, and appliquéd with plant material (leaves, small flowers). Dorothy Caldwell Collecting cards (journal); Photo © Karen Thiessen, 2014 Together they resemble an ancient alphabet. Dorothy Caldwell Collecting cards (journal); Photo © Karen Thiessen, 2014 Note the layers of shadows cast by the cards. Dorothy Caldwell Collecting cards (journal); Photo © Karen Thiessen, 2014 A stitched leaf. Could it be eucalyptus? Dorothy Caldwell Collecting cards (journal); Photo © Karen Thiessen, 2014 Earth ochre, stitching, plant matter, and black charcoal marks. Dorothy Caldwell Collecting cards (journal); Photo © Karen Thiessen, 2014 Dorothy Caldwell Collecting cards (journal); Photo © Karen Thiessen, 2014 The middle card is adorned with either delicate plant matter or dead mosquitoes. Dorothy Caldwell Collecting cards (journal); Photo © Karen Thiessen, 2014 Collecting cards was one of my favourite parts of the exhibition. The cards are very personal and reveal the research and thinking behind Dorothy's new work. All photos were taken with permission from Dorothy Caldwell and the fine staff of the Art Gallery of Peterborough.
My recent work is the result of parallel projects carried out in the Flinders Ranges, and the Kimberly in Australia and in Pangnirtung, and Bathurst Inlet in the Canadian Arctic. I want to experien…
mother artist quilt maker hand stitching inner life time is material
Dorothy Caldwell Collecting cards (journal); Photo © Karen Thiessen, 2014 In her 2003 In Good Repair solo exhibition at the Textile Museum of Canada Dorothy displayed several bound notebooks (along with white cotton gloves with which to handle them) in which she had made marks with ink and with burning/scorching. Collecting cards is a notebook in another form. One hundred and twelve cards are pinned to the wall with three-inch black specimen pins. The cards are about 2" X 3" and appear to be heavy cotton rag paper, similar to BFK Rives printmaking paper. The edges are nicely deckled and I wonder if Dorothy purchased the cards this way or if she moistened the heavy paper and then tore it against a sharp edge. Dorothy Caldwell Collecting cards (journal); Photo © Karen Thiessen, 2014 The Collecting cards are small intimate studies that Dorothy stitched, wrapped, marked with earth ochre, ink, and appliquéd with plant material (leaves, small flowers). Dorothy Caldwell Collecting cards (journal); Photo © Karen Thiessen, 2014 Together they resemble an ancient alphabet. Dorothy Caldwell Collecting cards (journal); Photo © Karen Thiessen, 2014 Note the layers of shadows cast by the cards. Dorothy Caldwell Collecting cards (journal); Photo © Karen Thiessen, 2014 A stitched leaf. Could it be eucalyptus? Dorothy Caldwell Collecting cards (journal); Photo © Karen Thiessen, 2014 Earth ochre, stitching, plant matter, and black charcoal marks. Dorothy Caldwell Collecting cards (journal); Photo © Karen Thiessen, 2014 Dorothy Caldwell Collecting cards (journal); Photo © Karen Thiessen, 2014 The middle card is adorned with either delicate plant matter or dead mosquitoes. Dorothy Caldwell Collecting cards (journal); Photo © Karen Thiessen, 2014 Collecting cards was one of my favourite parts of the exhibition. The cards are very personal and reveal the research and thinking behind Dorothy's new work. All photos were taken with permission from Dorothy Caldwell and the fine staff of the Art Gallery of Peterborough.
Textile and Fibre arts events in Canada
Explore venetia 27's 1798 photos on Flickr!
My recent work is the result of parallel projects carried out in the Flinders Ranges, and the Kimberly in Australia and in Pangnirtung, and Bathurst Inlet in the Canadian Arctic. I want to experien…
Flying Over Salt Lakes , stitching on cotton with earth ochre, approximately 13" x 16", 2013 Dorothy Caldwell has become an icon for t...
mother artist quilt maker hand stitching inner life time is material
Dorothy Caldwell Fjord , 2008; Photo © Karen Thiessen, 2014 Fjord , How Do We Know It's Night? and Signs are all monumental. Fjord i...
Dorothy Caldwell Collecting cards (journal); Photo © Karen Thiessen, 2014 In her 2003 In Good Repair solo exhibition at the Textile Museum of Canada Dorothy displayed several bound notebooks (along with white cotton gloves with which to handle them) in which she had made marks with ink and with burning/scorching. Collecting cards is a notebook in another form. One hundred and twelve cards are pinned to the wall with three-inch black specimen pins. The cards are about 2" X 3" and appear to be heavy cotton rag paper, similar to BFK Rives printmaking paper. The edges are nicely deckled and I wonder if Dorothy purchased the cards this way or if she moistened the heavy paper and then tore it against a sharp edge. Dorothy Caldwell Collecting cards (journal); Photo © Karen Thiessen, 2014 The Collecting cards are small intimate studies that Dorothy stitched, wrapped, marked with earth ochre, ink, and appliquéd with plant material (leaves, small flowers). Dorothy Caldwell Collecting cards (journal); Photo © Karen Thiessen, 2014 Together they resemble an ancient alphabet. Dorothy Caldwell Collecting cards (journal); Photo © Karen Thiessen, 2014 Note the layers of shadows cast by the cards. Dorothy Caldwell Collecting cards (journal); Photo © Karen Thiessen, 2014 A stitched leaf. Could it be eucalyptus? Dorothy Caldwell Collecting cards (journal); Photo © Karen Thiessen, 2014 Earth ochre, stitching, plant matter, and black charcoal marks. Dorothy Caldwell Collecting cards (journal); Photo © Karen Thiessen, 2014 Dorothy Caldwell Collecting cards (journal); Photo © Karen Thiessen, 2014 The middle card is adorned with either delicate plant matter or dead mosquitoes. Dorothy Caldwell Collecting cards (journal); Photo © Karen Thiessen, 2014 Collecting cards was one of my favourite parts of the exhibition. The cards are very personal and reveal the research and thinking behind Dorothy's new work. All photos were taken with permission from Dorothy Caldwell and the fine staff of the Art Gallery of Peterborough.
I was lucky this year to get into the workshop of my dreams--the Dorothy Caldwell Mark Making workshop at Nancy Crow 's art barn in Ohio. ...
Last year I won second place in the QSDS Fabric Exhibition and the prize was a free two-day class of my choice this year. I had taken a class in kantha stitching from Dorothy in Kingston, Ontario five or six years ago and knew how inspiring she is an instructor, so I signed up for her five-day Book of Marks class. Of course it was a wonderful learning experience. Below is the display board Dorothy created with small bits and pieces of her cloth -- it served well to illustrate the language of marks and how rich and evocative they can look when collaged together. Since I am focusing on written language in my own work right now as gestural marks more than concrete symbols for words, the class was a perfect choice to fuel my own investigations.During the course of the workshop we made marks on paper and fabric using a variety of tools -- fat soft graphite sticks, India ink, tjantings and wax and bleach discharge, awls and hammers, felt-tip pens, embroidery thread and stitching. We attached brushes to dowels and created gestural lines using our dominant and non-dominant hands. Here's classmate Judy Rush working. On the wall behind her you can see one of the large line paintings a class member did with the brush tied to long dowel exercise. These pieces were truly expressive, unique and individual. You can see more of the dowel stick and India ink paintings below, along with a seldom seen photo of Dorothy doing her impression of a runway diva. The 21 students in our class each embroidered expressive marks or words on a t-shirt for Dorothy to thank her on the last day of class. She put it right on and modeled it that last morning of class. Everyone crowded around to take photos and cheered her on to do runway poses for all the flashing cameras.
Dorothy Caldwell Canyon 2012 stitched cotton earth ochre 13 x 17 inches Dear Dorothy I just finished reading the article in the recent SAQA journal. It is very well done and I believe that it respects your work and long career. Congratulations. Dorothy Caldwell detail of Canyon I very much enjoyed reading it and re-visiting the large pieces from Silent Ice / Deep Patience, Dorothy Caldwell Before the Glaciers Melt plant dyed with stitching and applique 14 x 17.5 inches I visited the David Kaye show just before it closed in December and spent a good long while with your work there and with talking to David about our favourites in the show and about some of his own history as a textile artist. Dorothy Caldwell detail of Before the Glaciers Melt I photographed most of the pieces and plan to put up a blog post about that exhibition soon. (Thank you for your permission). Also, may I use the quotes by you that are in that SAQA article? Dorothy Caldwell Looking Up / Looking Down 2016 dyed in the Australian outback with iron oxide and eucalyptus printed and stitched cotton, 55 x 59 inches One thing that I noticed in the new work at David Kaye Gallery is the amount and variety of the hand stitched marks. Dorothy Caldwell detail of Looking Up / Looking Down Do you agree that there is more stitching in these new pieces than in previous work? I love the way that you draw with a couched line - and how sometimes just the wrapping threads have been left behind from a removed thread, evidenced by a line of dots. Dorothy Caldwell detail of Looking Up / Looking Down Masterful. Dorothy Caldwell New Growth in Pink Earth 2016 stitched cotton, pink earth ochre 17.5 x 15.25 inches In the article, you mentioned the difference beteen a painter's gestural mark and a stitcher's smaller and perhaps tighter hand muscle mark, and how you are seeking ways to make energetic marks. Dorothy Caldwell detail of New Growth in Pink Earth Dorothy Caldwell detail of New Growth in Pink Earth I shall carry this (energetic) idea forward into my own work in hand stitch. Dorothy Caldwell Silent Fog / Listening 2016 stitched cotton with ink wash 11.25 x 14.5 inches I also responded to the quote about how you initially view your work with despair but also are grateful for the flaws and mistakes as they give you a place to begin...to repair. Dorothy Caldwell Crossing the River 2016 plant dyed and stitched linen 12.5 x 9.25 inches Thanks for both these inspirational ideas. Dorothy Caldwell Outcrop 2012 stitched cotton with earth ochre 13 x 17 inches "A stitch is a mark like any other mark. It is a dot, a line, a texture. One of my questions is how the mark made with a needle and thread is similar to or different from a drawn or painted mark. The act of stitching involves the small muscles of the hand while seated. In contrast, a painter may use his or her entire body to make a mark. I often think about how to make an energetic stitch - a stitch with a sense of gesture." Dorothy Caldwell Dorothy Caldwell detail of Outcrop Happy New Year! x Judy
Dorothy Caldwell, Sown Field
Dorothy Caldwell Map without words , 2013; Photo © Karen Thiessen, 2014 With dimensions a staggering 9'4" by 8'5", Map without words ...
dorothy caldwell
Dorothy Caldwell has long been one of my favourite contemporary artists. She came to Hastings from Philadelphia in the company of a group of back-to-the-landers in the ’70’s because one…
Lake, stitching on cotton with earth ochre by Dorothy Caldwell, 2013 I have been inspired by Dorothy Caldwell's work for decades. Absorbing Place, stitching on cotton with earth ochre by Dorothy Caldw
mother artist quilt maker hand stitching inner life time is material
Dorothy Caldwell Comfort of Fog , 2013; Photo © Karen Thiessen, 2014 The intimate textiles in this blogpost were situated in a cosy spa...
A blog about book arts and bookmaking and paper arts in Wishi Washi Studio
When I was told about a 4 day workshop at Bunya last year I had not heard of the visiting Canadian artist who would be leading this workshop. I picked up the message from the host that it was a not-to-be-missed event and gladly paid a deposit then preceded to get distracted with things till the call out came this year and I found online links. Nothing however could have prepared me for the 4 days of teaching I have just experienced at the home and garden of gracious host Roz who brought the wonderful Dorothy Caldwell to Brisbane to present her 'Human Marks' workshop. I've assembled the following photos as a snapshot of the 4 days... but I will post more at the studio blog soon as I wish to link to Dorothy's work and also her friend from South Australia, India Flint, who was here as well and will be doing a workshop this week at Bunya plus a book talk at the Brisbane City Library on Friday evening at 5.30pm and a showing of her work next day at Bunya. The first day was filled with lively mark-making processes... some centred around the garden. I was delighted to meet with various one's Ive met online or in person before as well as a number of new faces. The large works above were done in the garden with brushes on long sticks... free gestural works. The one just above was by Tracy whom I took awhile to realise was a blogger I had been on contact with at Soewn Earth. I'd only known her as T from Tasmania...and this person at the workshop was Tracey from Western Australia... so I was seriously surprised to recognise her as T, find she had moved to WA and that of course I was already familiar with her wonderful work! Dorothy Caldwell I used this leaf for one of my tasks... loved the unusual shape. Stitching was a big feature of the workshop and one I loved given it is all too rare I get to use a needle and thread these days despite having grown up surrounded by fabrics and threads. making pages... tables full of book making materials afternoon on the third day... a quiet but contented lot! the first book I put together last day... pages ready for the next book. This is a collection of pages from a number of the group. Dorothy gave us presentations each day on the elements that make up her practice and the inspirations for our tasks. Work above by the inspiring Imbi Davidson whom I've written about before... it was great to catch up again... above is her process for assembling her book. I'll be sure to post on her upcoming exhibition in a couple of months time. I sat next to the inspiring Sandra... lover of all things textile, flamboyant, quirky etc good conversations flowed. Will be linking when S gets her blog up...! Note green sequins in her hand... looking forward to seeing much more from this talented woman! Small books that were our first effort so much inspiration from Dorothy and everyone in the group... 14 people in all! Kellie was so inspired by India's class some years back that she is now studying full time... this was her table above ...so much good stuff going on! below: pages from books... The last 6 images are from Imbi's book... I wrote this post here on a painterly session with Imbi last year! Dorothy Caldwell at the end of the 4 day workshop. Shall pop back in with more links as promised... If ever you get the opportunity for a workshop with Dorothy its an utterly unique opportunity for engaging in multi-dimensional thinking... I really loved that there was such depth in her approach... incredibly warm, human and encouraging yet stretching nevertheless to consider many fresh ways of working. Her capacity to offer input was so subtle and yet significant... much to think on indeed. I am sure many who also attended have been musing today on what came form this hugely enriching 4 days. I'm also extremely grateful to Roz and family for the gift of excellent hospitality and organisation.... and I;m ever so glad to take away many rich memories and conversations to cherish! Now back to painting Dna images for a few days... the fascinating thing was that I worked so much in black and white at the workshop... not unlike the graphic work of the previous week! Hope your week is wonderful... deadline here so its a busy time for sure! If I am not managing to visit you will know that I am madly painting for the 18th of May!
mother artist quilt maker hand stitching inner life time is material
Dorothy Caldwell Collecting cards (journal); Photo © Karen Thiessen, 2014 In her 2003 In Good Repair solo exhibition at the Textile Museum of Canada Dorothy displayed several bound notebooks (along with white cotton gloves with which to handle them) in which she had made marks with ink and with burning/scorching. Collecting cards is a notebook in another form. One hundred and twelve cards are pinned to the wall with three-inch black specimen pins. The cards are about 2" X 3" and appear to be heavy cotton rag paper, similar to BFK Rives printmaking paper. The edges are nicely deckled and I wonder if Dorothy purchased the cards this way or if she moistened the heavy paper and then tore it against a sharp edge. Dorothy Caldwell Collecting cards (journal); Photo © Karen Thiessen, 2014 The Collecting cards are small intimate studies that Dorothy stitched, wrapped, marked with earth ochre, ink, and appliquéd with plant material (leaves, small flowers). Dorothy Caldwell Collecting cards (journal); Photo © Karen Thiessen, 2014 Together they resemble an ancient alphabet. Dorothy Caldwell Collecting cards (journal); Photo © Karen Thiessen, 2014 Note the layers of shadows cast by the cards. Dorothy Caldwell Collecting cards (journal); Photo © Karen Thiessen, 2014 A stitched leaf. Could it be eucalyptus? Dorothy Caldwell Collecting cards (journal); Photo © Karen Thiessen, 2014 Earth ochre, stitching, plant matter, and black charcoal marks. Dorothy Caldwell Collecting cards (journal); Photo © Karen Thiessen, 2014 Dorothy Caldwell Collecting cards (journal); Photo © Karen Thiessen, 2014 The middle card is adorned with either delicate plant matter or dead mosquitoes. Dorothy Caldwell Collecting cards (journal); Photo © Karen Thiessen, 2014 Collecting cards was one of my favourite parts of the exhibition. The cards are very personal and reveal the research and thinking behind Dorothy's new work. All photos were taken with permission from Dorothy Caldwell and the fine staff of the Art Gallery of Peterborough.
I just posted on this excellent workshop at the Eclectica blog in much more detail! It offered a timely chance to retreat and...
I just posted on this excellent workshop at the Eclectica blog in much more detail! It offered a timely chance to retreat and be taken on a new experience thinking about mark making. Dorothy Caldwell was he kind of teacher one wishes had crossed one's path many moons ago... but perhaps this was perfect timing in another way. Conversations with Dorothy and others attending were especially wonderful. This early exercise was a chance to reconnect with Imbi Davidson who I wrote about at this blog here. Our works sit side by side above. Imbi is ever the most exciting mark maker. I am much more a maker of forms... so it was great to be pushed into new thought. 4 days of experimenting with mark making.... burning holes, smoking paper, wax, finger-printing, lines and marks off every kind... stitching working large and small making books... mine is on left below and here below... I've brought home two books to complete the binding on and have spent the day reflecting on all the layers of making, thinking, conversing and more form he previous 4 days with 15 people in a lovely garden setting on the edge of this city where I live.
Lake, stitching on cotton with earth ochre by Dorothy Caldwell, 2013 I have been inspired by Dorothy Caldwell's work for decades. Absorbing Place, stitching on cotton with earth ochre by Dorothy Caldw
