How Much I Tried Not To Worry Variety of Found Fabric, Acrylic Paint, Wool Thread hand stitched, 39" x 39" First exhibited at Judy Martin's solo exhibition at One Sky Gallery, Sudbury Ontario April 2019 Beauty, Emotion, Spirit, Soul Second exhibition was Craft Ontario 19, Toronto, Ontario Sept 2019, awarded Best of North Available through Guildworks Prince Edward County A companion piece entitled Beauty, Emotion, Spirit, Soul is similar but stitched with white silk thread rather than black. It sold out of the Sudbury exhibition into private collection April 2019.
Discover more about the inspirational fibre artist, Judy Martin as we talk to her about her latest work and greatest achievements. >>
Not To Know But To Go On, 2013 Installation Thunder Bay Art Gallery, September 13-October 27 2013 66.75 metres h x 35.5 cm w x 1 cm d Materials: artist canvas, found fabrics, cotton embroidery floss, cotton tape Technique: couching by hand. Photo: Klaus Rossler Part of the Mended World exhibition Not To Know But To Go On, 2013 Installation Thunder Bay Art Gallery, September 13-October 27 2013 full view on 50 foot wall, part of Mended World exhibition 66.75 metres h x 35.5 cm w x 1 cm d Materials: artist canvas, found fabrics, cotton embroidery floss, cotton tape Technique: couching by hand. Photo: Klaus Rossler Not To Know But To Go On, 2013 Installation Art Gallery of Sudbury, January 19 – March 2, 2014 (detail) 66.75 metres h x 35.5 cm w x 1 cm d Materials: artist canvas, found fabrics, cotton embroidery floss, cotton tape Technique: couching by hand. Photo: Judy Martin Included in the Mended World exhibition Not to Know But To Go On is based on the private, daily ritual of writing a diary. It also refers to the Finnish rag rugs of Judy Martin's cultural heritage, but is stitched, not woven. For exactly three years the artist maintained a daily practice of couching strips of found fabric to canvas with one complete skein of cotton embroidery floss. Because we do not know what each day will bring, the day’s thread was selected with eyes closed. Over one thousand days were thus lived through and marked. Not just memories, but dreams and plans for the future are held within the work, and not just from that day when it was created, but also new ones. The combination of simplicity and subtle human touch transports us into an inner world of dream and self-knowledge. Exhibition record This piece is an important part of the Mended World exhibition. This exhibition has been mounted in three public art galleries in Ontario, Canada. Thunder Bay Art Gallery: September 13 - October 27, 2013 Art Gallery of Sudbury. January 19 - March 2, 2014 As well, Not To Know But To Go On was exhibited as a solo exhibition as part of the World of Threads festival, Oakville Ontario : November 1 - November 30, 2014. The World of Threads installation was from the ceiling - shown below. Not To Know But To Go On was most recently exhibited July 12 - August 9 2018 at the Mary E Black Gallery in Halifax Nova Scotia as part of the exhibition Cloth of Time, a Two person exhibition with Penny Berens and Judy Martin. For that exhibition, it hung in the centre of the gallery space, from the ceiling. There is a poem-booklet entitled Not To Know But To Go On available from the artist. In 2019- 2023 Not To Know But To Go On toured the USA in the SAQA organized exhibition, 3-D Expressions. The works in this exhibition were selected by Bruce Hoffman. Venues included:
Cloud of Time 7.5 feet high x 9 feet wide Artist Canvas, damask and silk fabrics, cotton embroidery floss, hand stitched Part of the exhibition The Cloud In Me - October 2017 at David Kaye Gallery in Toronto Ontario Canada This piece was reconfigured in 2017. previously, the work had been a continuous strip. It was exhibited as part of The Mended World exhibition in this earlier format. Cloud of Time 2014 re-claimed linen damask and variety of blue fabrics cotton floss, artist canvas, hand stitch 33 cm x 1806 cm (13" x 711") A measurement of one year of time. (365 days) One complete skein of embroidery floss is used to represent one day. exhibition record: 2013 Mended World exhibition, Thunder Bay Art Gallery September-October 2013 2014 Mended World exhibition, Art Gallery of Sudbury January - February 2014 and 2015 Mended World exhibition, Homer Watson House and Gallery, May -June 2015 Studio photograph of Cloud of Time by Nick Dubecki, Sudbury Gallery photograph of Cloud of Time reconfigured installed at the David Kaye Gallery is by Frank Myers, Burlington Cloud of Time will be exhibited twice more in its new configuration, (photo of Judy Martin by Frank Myers) at Mary E Black gallery in Halifax as part of Cloth of Time exhibition with Penny Berens July 13 - August 26 2018 and at World of Threads festival in Oakville in a solo exhibition October 13 to November 25 2018 available for purchase: please contact David Kaye
This post is a tutorial for a careful technique, reverse applique dots. Two three inch squares are layered, basted together, and marked with a circle outline. A spool of thread makes a good template. The center of the circle needs to be removed with very sharp embroidery scissors. Then make several tiny clips that just touch the drawn line. Thread the needle with silk applique thread. Silk thread is very strong, does not knot, and is nearly invisible once stitched. The above photo shows how the needle itself is used to create the curves. If you use the side of the needle rather than your fingers to manipulate the cloth, you will get a neater curve. Firmly hold the two fabrics together with one hand, and then stitch the top fabric to the lower fabric with an invisible hem stitch. It's best to just relax with these dots, and work slowly and carefully. I'd say that each one takes at least ten minutes to make, perhaps more. When finished, bring the thread to the back of your work and make a knot before cutting the thread. At this time I also remove the excess bottom layer of fabric. This has become one of my favourite techniques. The dots give a strong graphic with minimalist strength. To make them takes practice, but there is a satisfaction in doing skillful work. Massed, the hand made dots are very powerful. Each unique. All the same.
Martin Suter ist einer der meistgelesenen Autoren der Gegenwart. Neben seinen Romanen erfreuen sich auch die Kolumnen des Schweizers, insbesondere Richtig leben mit Geri Weibel und Business Class, grosser Beliebtheit. Suter nimmt darin die schnelllebige Lifestylegesellschaft der aufstrebenden Mittelklasse aufs Korn und berichtet von grossen und kleinen Fettnäpfchen, die seinen Protagonisten in die Quere kommen. Doch wie funktionieren die Kolumnen Suters? Was macht sie zu einem so grossen Erfolg? Und weshalb schwanken wir immer zwischen Schadenfreude und Mitgefühl? Die Autorin Judith Kopf gibt einführend einen Überblick über die Publikationsbedingungen der Kolumnen um Geri Weibel, Grundlagen satirischen Schreibens und den schmalen Grat zwischen Bestseller und Trivialliteratur, ergänzt durch fachübergreifende Analysen, die Erkenntnisse aus Soziologie und Ethik mit einbeziehen.
The two-person exhibition, In the Middle of the World, will show in Annapolis Royal, Nova Scotia this fall. This exhibition has been on tour since 2021 when it was displayed at the Mississippi Valley Textile Museum in Almonte Ontario as the autumn exhibition. The artists are: Penny Berens and Judith e Martin. The curator is Miranda Bouchard. The three of them will speak at the opening reception September 7 at 2 pm. There is a catalogue available for viewing online at this link. It will also possible to purchase a hard copy from the gallery or from the MVTM.
Moon Cloth 2016 Hand stitched hanging sculpture. dimensions variable (135 cm h x 50 cm w x 16 cm d) wool, indigo dye, cotton thread, silk thread, hand stitching Worked from the back of the cloth, strips cut from the bottom that were then couched in angles and circles. The fabric became energized with hand work. Inspired by the rotation of the moon, ancient female figurines from pre-history and the immensity of our vulnerable inner selves. exhibition Hard Twist 11 Spin Augut 26 2016 - January 8, 2017, Gladstone Hotel, Toronto Ontario Canada. Perivale Gallery Manitoulin Island for the 2017 season
Miss Manners' Guide to Rearing Perfect Children Hardcover Book by Judith Martin 1984 with Dust Jacket Illustrated by Gloria Kame
Details Artist Statement Artist Biography Authenticity Guarantee Details Aboriginal Artist - Judith Nungarrayi Martin Community - Nyirripi Aboriginal Art Centre - Warlukurlangu Artists Aboriginal Corporation Catalogue number - 4697/22 Materials - Acrylic on linen Size(cm) - H183 W107 D2 Postage variants - Artwork posted un-stretched and rolled for safe shipping Orientation - Painted from all sides and OK to hang as wished Artist Statement Janganpa Jukurrpa (common brush-tail possum [Trichosurus vulpecula] Dreaming) travels all over Warlpiri country. ‘Janganpa’ are nocturnal animals that often nest in the hollows of white gum trees (‘wapunungka’). This story comes from a big hill called Mawurrji, west of Yuendumu and north of Pikilyi (Vaughan Springs). A group of ‘janganpa’ ancestors resided there. Every night they would go out in search of food. Their hunting trips took them to Wirlki and Wanapirdi, where they found ‘pamapardu’ (flying ants). They journeyed on to Ngarlkirdipini looking for water. A Nampijinpa women was living at Mawurrji with her two daughters. She gave her daughters in marriage to a Jupurrurla ‘janganpa’ but later decided to run away with them. The Jupurrurla angrily pursued the woman. He tracked them to Mawurrji where he killed them with a stone axe. Their bodies are now rocks at this place. Warlpiri people perform a young men’s initiation ceremony, which involves the Janganpa Jukurrpa. The Janganpa Jukurrpa belongs to Jakamarra/Jupurrurla men and Nakamarra/Napurrurla women. In Warlpiri paintings traditional iconography is used to represent this Jukurrpa. ‘Janganpa’ tracks are often represented as 'E' shaped figures and concentric circles are used to depict the trees in which the ‘janganpa’ live, and also the sites at Mawurrji. Artist Biography Judith Nungarrayi Martin was born in 1976 in Alice Springs Hospital, the closest hospital to Yuendumu, a remote Aboriginal community 290 km north-west of Alice Springs in the Northern Territory of Australia. Judith comes from a family of artists. Her mother is Helen Nampijinpa Robertson and her grand-father is Shorty Jangala Robertson, both well-known artist who paints for Warlukurlanga Artists. She attended the local school in Yuendumu before studying at Yirara College, an Aboriginal boarding College in Alice Springs. When she finished school she returned to Yuendumu. She moved to Nyrripi in 1991 where she later married a ‘Nyrripi boy’. They have 3 sons and 1 daughter. Judith has been painting with the Warlukurlangu Artists Aboriginal Corporation, an Aboriginal owned and governed art centre located in Yuendumu, since 1994. As a young child she would watch her family paint and listen to their stories. Although her production of artwork was initially sporadic – she began to paint full time when she had her sons and daughter. “I wanted to paint the stories to teach my kids”. Judith paints her father’s Jukurrpa (Dreamings), that include Janganpa Jukurrpa (Brush Tail Possum Dreaming) and Yankirri Jukurrpa (Emu Dreaming). These Dreamings have been passed down through the generations for millennia and relate directly to the land, its features and the animals and plants that inhabit it. She has exhibited in group exhibitions in Melbourne, Sydney and Japan. She uses an unrestricted palette to develop a modern interpretation of her traditional culture. Authenticity Guarantee We take great pride in offering high-quality, authentic Aboriginal Art pieces to you. However, we are aware that there have been instances (and recent press relating to the unaffiliated APYACC) in the Aboriginal Art market where the authenticity of some artworks has been called into question. We want to assure you and all of our customers that we firmly stand behind the authenticity of every artwork we sell. In addition to our extended 120 days standard returns, we are pleased to offer a lifetime money-back authenticity guarantee to all customers who purchase Aboriginal Art from us, both past and present. This guarantee covers any disrepute or wrongdoing in association with the authenticity of any Aboriginal artwork sold by ART ARK®. We understand that purchasing authentic Aboriginal Art is important to you, and we want to provide you with peace of mind in knowing that they are getting what you paid for. As part of our commitment to authentic Aboriginal Art, we work with reputable Aboriginal Art centres that we know are committed to maintaining the integrity of Aboriginal Art. Additionally, we continually monitor all aspects of the Aboriginal Art market and are acutely aware of, and are proactive in addressing any issues arising. We take the authenticity of Aboriginal Art seriously and are committed to providing you with high-quality and genuine works of art. If you have any concerns about the authenticity of any art piece you purchased from us, please do not hesitate to contact us and we will investigate further. If we find any wrongdoing or disrepute in regards to the provenance or authenticity of any artwork we have sold we will happily provide a full refund to you at any time in the future outside of our standard returns policy. Thank you for choosing ART ARK® for your Aboriginal Art purchasing. We are honoured to provide you with authentic, high-quality art pieces and look forward to continuing to serve you.
I did one thread on this velvet sample yesterday, it calmed me and I could then sleep. The Meditation Panel Workshop begins tomorrow. See the outline here.
Under Drifting Stars 2022, very light weight cotton with a silk batt, 86 x 91 inches. A world of spirit thinly veiled, a secret mystery. Ou...
Cross My Heart (detail), 2010 33 inches h x 35 inches w Materials: silk, linen, velvet, silk thread, dye, paint; Technique: layered, pieced, hand embroidered, hand quilted Photo:Judy Martin Time is taken to make the work. Time is a material. Cross My Heart, 2010 33 inches h x 35 inches w Materials: silk, linen, velvet, silk thread, dye, paint; Technique: layered, pieced, hand embroidered, hand quilted In private collection, it sold on opening day. Photo: Judy Martin Exhibition and Publication May-September 2011: Quilt National, 2011, The Dairy Barn Arts Center, Athen's Ohio, toured USA and Europe through 2013 Quilt National 2011: The Best of Contemporary Quilts by Lark Crafts, page 58
mother artist quilt maker hand stitching inner life time is material
Judy is a full-time professional textile artist in Ontario, Canada. She uses dye, thread, and cloth as primary materials to produce works through stitching these materials by hand. The process is time-consuming, but the healing meditation inherent in the method gives her the vitality to fulfill her large scale projects.
This moment in my timeline - post Mended World exhibition - post degree - post studio I am trying to find the correct road and place myself on it. I'm working at home: kitchen studio - desk, light, pin wall, storage upper bedroom studio - thinking space, work table, pin wall, books, journals, fabric storage living room studio -viewing pin wall, reading space, good natural light for hand stitching dye studio - downstairs laundry room, upstairs kitchen sink and stove works on paper studio - the lower bedroom has my studio work tables now business office - computer desk, closet, file boxes storage - flat file, cupboards and closets within the house, boxes under beds I say to myself: What's more important? TIME or PLACE? Even if I don't have a special place anymore, I still have TIME. I will work three hours a day with no interruptions AS IF I was in my studio. three hours. experimentally towards a new body of work without a road
The project Summer House in Southern Burgenland (Austria) describes a sharp-edged cubature which fits into its surroundings through its simplicity and homoge...
ShowCase is an on-going feature series on Archinect, presenting exciting new work from designers representing all creative fields and all geographies. We are always accepting nominations for upcoming ShowCase features - if you would like to suggest a project, please send us a message.
mother artist quilt maker hand stitching inner life time is material
mother artist quilt maker hand stitching inner life time is material
Discover more about the inspirational fibre artist, Judy Martin as we talk to her about her latest work and greatest achievements. >>
Discover more about the inspirational fibre artist, Judy Martin as we talk to her about her latest work and greatest achievements. >>
When I realize that I have brought something new into the world, I can tell myself again that I am not a fraud. In this piece I am using a combination of two opposites, the seductive and the repulsive, to create something new. It's not a story cloth really. There is no meaning other than an artwork charged with energy. My thoughts come and go so quickly yet the work progresses slowly. I'm faster than me. The threads and fabrics are familiar things used in an unfamiliar way. What is usually used to make a neat seam or a mended pocket, is used here in a messy and raveled manner. An affront to what is expected, but like a storm we want to watch, it gives a bit of a thrill. We want to touch it to see if it's true. The work starts to invent itself. It's not that I lose control, but things happen that although interesting are not my original idea. It's as if I'm ordered to do something that doesn't come from me. In this piece I am working from the back, which gives me some control. There has to be order, even though I am using cut bits of threads and frayed cloth which are couched and then covered with snugly pulled running stitch. I am always working from both sides. beautiful - ugly control - lack of control shape - line order - chaos front - back fast - slow Working with opposites is what drives me to continue with the making over a period of months. For me it's exciting to see the messiness under my control. Untidiness is the subject. That's interesting. The smoother side is a bit too charming, but it is the result of that raw inner making. I try to give my work that extra edge.
Two different residential projects in Zurich by E2A the studio of brothers and architects Piet and Wim Eckert composed of 11 residential blocks and one singlefamily
