Inspired by Archetypes: Creative Strength Training Members 2020 by Jane Dunnewold

Inspired by

Archetypes Creative Strength Training Members 2020

Exhibition Artists Cecelia Adair

Barbara Gideon

Kristin Rohr

PrĂŠcille Boisvert

Kelly Hoffman

Sue Ellen Romanowski

Anita Centeno

Zoie E. Holzknecht

Sheri Schneider

Sue Cortese

Linda Nelson Johnson

Barbara Cardinal-Sorge

Cheryl Costley

Al Bates Lombard

Tracy Thomas

Janey Crook

Pam Lowe

Linda Vandiver

Jeanette Davis

Barbara Matthews

Lynn Verschoor

102

Elizabeth B. Davison

Judy Miller

Cathy Vigor

Kate Dean

108

Linda A. Miller

Cindy Vondran

Paula Dean

Martina Munroe

Marilyn Waite

Jeanette Floyd

Roberta Nelson

Lela McKee Friel

Jody Pilon

Merrilyn George

Carole Pollard

112 28 115

Janis Updike Walker Richard Webster Lynn Woll

38 106 4 119 54

Words from Jane Archetypes are universal patterns of behavior that we instinctively recognize. Think of them as a sort of shorthand. Descriptions like mother, king, gambler, saboteur and child conjure pictures in our minds. We immediately recognize these personality traits. They provide insight into our own behavior, as well as helping us understand the behavior of others. Archetypes have become central to my deepening respect for, and love of, creative intelligence. Human beings come into the world born with an innate sense of creative possibility and joy. Children manifest this naturally. Adults often lose touch with their creative intelligence but itâ&#x20AC;&#x2122;s always in there. Creative Strength Training is designed to help people reconnect with their creative selves, or further the connection if they are already making things. The pieces included in this inaugural exhibition feature archetypes, and were made by participants in the 2020 online program. Every year our community studies archetypes as they relate to creative process, along with tutorials on art practices. This year we focussed on the development of a personal series of works. Not everyone chose to work with archetypes, but thirty-seven artists submitted work for inclusion in this show. Some artists worked specifically with the theme of an archetype every month, while others worked with the help of a personal archetype as a piece evolved. I am delighted to share these wonderful pieces with you, and I applaud the artists who rose to the challenge to submit their work.

Janis Updike Walker As an only child, the world revolved around my magical grandmother. Using textiles carefully saved, she taught me embroidery. My fascination with fabrics grew with each passing year. I envisioned a career in Interior Design but life lead me in other directions – marriage, motherhood, degrees in Social Work and Non-Profit Leadership. In my 40’s, I stumbled upon wonderful fiber dolls, called Ju-Jus. West Africans adopted the term to describe objects venerated with enchanted powers. I designed hundreds of Ju-Jus over the years. Later, I realized each doll reflected aspects of my personality. My grandmother left me many legacies. After she died, I found a trunk full of her treasured dresses from past decades. This discovery led to obsessive research into period fashions. I searched numerous thrift stores, antique markets and estate sale, acquiring vintage clothing. My collection grew as I added gowns, coats, hats, linens and coverlets. I wondered about the original owner. Where did she buy this perfect dress? Why this color and not another? What were her thoughts as she mended a 4

torn hem or replaced a button? What were the stories of her happiness, loves, sorrows, joys? Who were her people? Retirement freed me to pursue training in art and refine my artist palette. I now create hand-stitched fiber collage. I search for vintage fabrics, transforming cast-off scraps of velvet, silk, and lace into new designs. I hope to reinterpret needlework, not simply as “women’s work,” but as a time-honored creative expression. I aspire to elevate embroidery from hobby to craft to art. The Kimono series honors my Seeker Archetype – the part of my personality that thrives on inner exploration and discovery of the world through travel. Kimono: My Artist Palette, symbolizes blessings I received during 2020, including time to quietly sit and create. My Passage to India, reflects on glorious colors and textures I experienced in this exotic land. Meditations on Kyoto, imagines the majestic sites I missed seeing when my trip to Japan was postponed.

Meditations on Kyoto 2020 38â&#x20AC;? x 52â&#x20AC;? Embroidery Hand-stitched on silks NFS janisupdikewalker@gmail.com

Janis Updike Walker 6

My Passage to India 2019 35â&#x20AC;? x 39â&#x20AC;? Embroidery Hand-stitched Silk Saris 1500. janisupdikewalker@gmail.com

Kimono: My Artist Palette 2020 38” x 51” Embroidery Hand-stitched on silks 1800. janisupdikewalker@gmail.com

Kelly Hoffman Since childhood I’ve been passionate about the process of making. Time spent alone sewing, crocheting, and sketching is where I have always found joy and refuge. As a young adult I married, explored many subjects in college, and completed a degree in Business Administration. Soon afterwards, dissatisfied with my career choice, I bought a custom picture framing shop. Through that experience of design and craftsmanship, my passion for creativity was ignited. As my children grew older I began taking art classes through community college to explore and expand my palette of material and techniques. I began to sell my wearable art and submit work to magazines. In 2008 my husband passed away from cancer. I went back to school to pursue a Master’s in Art with an emphasis in sculpture. Making art gave me refuge and helped me to heal from his passing.

My graduate show in 2015 was an assemblage style of art with a narrative of family loss, change, and growth. The past five years have been filled with lots of positive changes, including marriage and becoming a grandparent. I have more time to be creative and to explore new art processes. Although I’ve been creating with polymer clay for over twenty years I’ve hardly scratched the surface of what can be done with it. The possibilities are limitless. My Artist and Curious Child archetypes are currently partnering to create three dimensional forms which are covered with colorful patterns of thin veneers of clay. I’m excited as I seek to capture workable ideas from the waves of creativity that flutter about me like butterflies. My center and place of refuge is found by aligning the love I have for making art with the gratifying sense of fulfilling my passion.

Captured Vision 2020 25” x 18” x 18” Polymer Clay 1500. ksreiter56@gmail.com www.kellyreiter-hoffman.com 9

Merrilyn George Growing up, our family of four girls lived in the remnant settlement of a saw mill, amidst native bush at Horopito, New Zealand. My younger sister and I played with dolls in the bush, making mud pies and using the rotten logs for money in ‘our shop’ games; we fed animals, and caught freshwater crayfish in the creek. My dad taught me to knit and to sew with the sewing machine. During our extended family gatherings I was fascinated by stories adults told – sowing the seed for the local history books I have written. I started school at four years old. I loved school, so much that I became a secondary teacher and stayed at school for another 54 years. A slow learner! Care of environment and involvement in Maori community informs my practice. I recycle and colour my own fabric, often

over-printing to enrich layers. I rust and eco dye fabric, and I love paper. Narrative has become important to my creative practice. In this collage the focus is on the child who still loves to play; the child who was born as WW2 ended into a family that was grateful to be in peace times again. The photographic images references that carefree child of the bush, the nature child. The peace stamps issued of the Home Front, acknowledge my dad and the scripture Isaiah 46:3, my mum, and my own metaphysical gift. The Eco print is from the Horopito plant after which our village was named and the ‘Kune’ coin collected from travels, refers to the town nearby – Ohakune, where I have spent most of my life. The bush was my cradle and is still my sanctuary.

Peace Child 2020 12" x 12" x 1.5" Mixed media collage Canvas, paint, ink. 300. merrilyngeorge@gmail.com merrilyngeorge.webs.com

Paula Dean Ever since I was a child, I have been fascinated by the ability to take something that was plain and unused, and turn it into something interesting, useful and beautiful. My grandfather, the carpenter, could turn a knarly log into a beautiful table. My grandmother made intricate embroidered wall art. My mother could create matching family outfits in a day. We still talk about that family picture today. I hail from many generations of quilters and own several from the 1800â&#x20AC;&#x2122;s. It was no surprise that I became a maker, and textiles became my passion. I use a unique approach to fabric sketching using India Ink and markmaking tools. My favorite is a ruling pen (traditionally used on paper) to create unexpected and sometimes chaotic results. It is an uncontrolled, spontaneous dance as the ruling pen hits the fabric. The permanent imperfect

marks do not allow perfectionism to be present. The beauty of the imperfections steals the show. My designs begin with a blank canvas without a clear plan. Never knowing where the piece is headed makes it exciting to see the story unfold. These three pieces were created without any intention to represent my Archetypes. A conversation began with each piece and it was only after they were almost complete that they began to speak and told me who they were supposed to be. The piece representing the Prostitute is called She Knew, and reminds me to trust myself. The Victim is depicted in stark black and white, and wears my affirmations on her shirt. The last more colorful piece represents my Gambler, and her companion reminds me that to take the risk I will need to put in the work. I look forward to my next conversation!

Unstoppable 2020 27" X 18" Mixed Media Textile India Ink, ruling pen, Posca Pen NFS www.studioonthebluff.com

Paula Dean

She Knew 2020 27" X 18" Mixed Media Textile India Ink, ruling pen, Posca Pen NFS www.studioonthebluff.com

The SurvivorÂ 2020 27" X 18" Mixed Media Textile India Ink, ruling pen, Posca Pen NFS www.studioonthebluff.com

Cathy Vigor I was born the middle child of three. My parents were educators. My father was a Professor of Drama. Throughout my childhood and teenage years I was exposed to many theater, music, and dance performances as well as art museums and exhibits. I’m a visual learner and I identify as a Nature’s Child. I loved being outdoors, exploring, growing gardens, and collecting natural artifacts. I made my first skirt on a sewing machine when I was in 7th grade and I was hooked. I received a sewing machine for my 16th birthday. I love to collect vintage and antique textiles that I incorporate into my sewing creations and art. I have a BFA in Fine Art, a degree in Art Education (K to 12) and an MA in Studio Art. My art has been shown in galleries and exhibitions. I’ve taught art at all grade levels. The variety of art media I’ve taught appeals to my Dilettante.

I retired from teaching in 2011 and moved to Lexington, KY. I began felt making in 2012. I’m active in the art community and the Fiber Guild. My tool box is overflowing with techniques learned from art classes and the workshops my Dilettante insists on taking. My current studio practice is primarily making felt. My approach to my work is intuitive. I start with a simple idea or sketch. I work on the piece slowly – from several hours to many months. I like to “sleep” on my ideas and ask myself “what if?” My felt piece, Woman Who Came from the Heavens, was created early in 2020 for the International Women’s Day Festival and Art Exhibit in Lexington, KY in March. I made this piece in honor of Greta Thunberg. As a Nature Child I am concerned about the effects of climate change.

Woman Who Came From the Heavens 2020 32” x 8” x 7” Felt C1/Persil Wool, Merino Wool, Thread 1200. cathy.vigor@gmail.com

Lela McKee Friel

I was brought into this world 62 years ago, raised in a rural setting by two talented parents. Both were artists – my father a self-taught architect builder and my mother worked in many mediums, from glass to block prints. She was also a sewer and made most of our clothing. My first quilt was made from her scrap basket and I was hooked. We were never bored, there was always a craft project to pursue – from candle-making, candleholders, macrame, drawing, embroidery, rag rugs – what ever we had on hand was made into something creative.

growing from the banks like tiny cups. My mind was endlessly entertained. In the summers we spent many hours swimming in the river, walking there from our house with a picnic, sometimes a stick, string, and a hook to catch fish for dinner. The river was a big part of my childhood.

I was the youngest of six children, the linchpin between two previous marriages. I was a loner and spent lots of time in nature exploring with my head bobbed downward. I loved the tiny world beneath my feet, often finding small treasures – an arrowhead after a rain, a feather, bird’s nest, lichen

I chose the imagery of my happiest times as a child, rising out of the water with so much joy. Here I am surrounded by nature, the wild life, and textiles that are still a deep part of my life today – the curious child looking intently, forever exploring

I chose the Nature Child archetype because it resonated with me. This piece was collaged in paper and printed onto cloth and stitched with gold thread, with added fresh water pearls on the tapestry in the background.

Nature Child 2020 18" x 20" Mixed Media Textile NFS

Sheri Schneider Art in my childhood was limited and something I only experienced at school. As a teenager, my best friendâ&#x20AC;&#x2122;s mother made beautiful banners for our church, which fascinated me. I had never seen cloth and color used to tell a story or illustrate a thought. While raising my two children, I was surprised to discover how much I enjoyed encouraging their art projects and using their crayons and paint alongside them. My career evolved to a position of making soil maps which, while having some creativity, required a focus on detail and following a strict protocol. I had the faint stirrings of an interest in making some kind of art myself, but was overwhelmed with where to begin. After retirement, my creative interests finally had time to bloom. Community

education classes gave me a path to begin, and online courses were a great supplement to help me explore different types of art. I realized that what I liked best was combining a variety of techniques and began to concentrate on mixed media. I consider myself very much a beginner in all aspects of art. Currently, I enjoy manipulating images in Photoshop. These usually form the central focus of what I am making. I combine them with acrylic painting and other mixed media techniques. My art allows me to look deep within and articulate my feelings, thoughts, and emotions. A humorous or whimsical expression often shows up as well. What I make is just for myself, but I do enjoy sharing it with others and treasure the community that art creates.

Recluse In Solitude and Connection 2020 9" x 12" Mixed Media Paper, Acrylics, Image Transfer NFS sheri.l.schneider@gmail.com

Sheri Schneider My Child Within 2020 9" x 12" Mixed Media Paper, Acrylics, Image Transfer NFS sheri.l.schneider@gmail.com 22

Two Sides of My Saboteur 2020 9" x 12" Mixed Media Paper, Acrylics, Image Transfer NFS sheri.l.schneider@gmail.com 23

Barbara Matthews Early on, I found silk dyeing and loved the wicking of dye on silk. Silk also has wonderfully vivid and transparent qualities when dyed. I use a variety of methods of applying the dye, which include hand-painting, Shibori manipulations, and printing. When I look at the breadth of my art, vulnerability contrasted with strength and fragility rises as the main underlying theme. Whether it is vulnerability within people, glaciers, or trees, I find difficulties and failings interesting. In this series I explore our vulnerability in light of uncontrollable and unpredictable external events like the pandemic and raging fires. I adapted a technique to adhere dyed silk to acrylic glass. The silk seems to become one with the glass allowing me

to create three-dimensional art pieces, so that light can shine through and exploit the dyed silk’s vibrant quality. I usually cut the acrylic glass via a laser cutter into supportive shapes. The archetype that helped guide this work was the Engineer— "The Engineer is eminently practical, hands-on, and devoted to making things work.” In prior work, I reveled in the analytics of angles, spacing and size, often graphing, re-graphing, and re-calculating the composition before I started. While I loved these engineering aspects, I could see how these activities were hindering my artistic progress. These three pieces, Tormented, Overwhelmed, and Exposed, are a progression of release from the Engineer into becoming more intuitive.

Overwhelmed 2020 27” x 23” x 4” Mixed Media Hand Dyed silk, acrylic glass, maple wood 690. Bjmatthews76@comcast.net BarbaraMatthewsArt.com

Barbara Matthews 26

Exposed 2020 27” x 23” x 4” Mixed Media Hand Dyed silk, yarn, gauze, maple wood 690. Bjmatthews76@comcast.net BarbaraMatthewsArt.com

Tormented 2020 27” x 23” x 4” Mixed Media Hand Dyed silk, acrylic glass, thread, maple wood 690. Bjmatthews76@comcast.net BarbaraMatthewsArt.com

Jody Pilon I am a mixed media and textile artist. I believe in community-engaged work, and using art to reinforce social responsibilities. I am passionate about protecting the environment and my desire to live lightly is reflected in my art practice, through the careful collection of creative supplies from charity shops, antique markets, and yard sales. Over the last ten years, I have explored various textile arts including weaving, bobbin lace, and most recently, traditional Japanese styles of sashiko and boro stitching. Using simple tools, simple supplies, and simple techniques, I work exclusively with found and natural objects, paper, vintage and discarded textiles, and thread, to create items of interest and

beauty. My compositions are devised by layering various fibres and stitching (machine or hand) to create vignettes, collages, and large community-based textile installations. This year, during these quiet Covid days, I have been developing a textile series based on Carl Jungâ&#x20AC;&#x2122;s concept of archetypes and how they form the basis of the human psyche, directing and influencing our behaviors. Colours, textures and found objects portray ideas, feelings, and attitudes that I assign to defined aspects of each of the archetypes in my study. Many of the textile tiles are coaxed into life employing treasured fabrics and artifacts that hold deep personal meanings.

The Bully 2020 20" x 20" x 1.5" Mixed Media Textile Fabric, Paper, Found Objects, NFS jodypilon@gmail.com

Jody Pilon

The Miser 2020 20" x 20" x 1.5" Mixed Media Textile Textile, Thread, Glass Beads, 500. jodypilon@gmail.com 30

The Artist 2020 20" x 20" x 1.5" Mixed Media Textile Fabric, Thread, Found Objects, 500. jodypilon@gmail.com 31

Al Bates Lombard To them I was: Replacement for a boy Alone with my thoughts Threats of finishing school Needs toughening up, they said. Fight back, stand up Boys won’t look at you dressed like that. “This is the woman’s room!” Alone with my thoughts. To me I am: Lonely and weird, More calculus please A system of differential equations, Still alone with my thoughts “Didn’t you hear me! This is the woman’s room!” I heard you, I am me Non-binary, scientist, and truth seeker.

I am me 2020 15” x 26.5” Art Quilt NFS

Elizabeth B. Davison I was lucky, growing up in a welleducated, but unemotional family, going to schools with a strong arts curriculum. The schools were in the country, lots of woods and fields to roam and learn about plants, animals and ecosystems. I lived in the city, and frequently went to concerts and museums. I found my passion for music and dance was a great emotional outlet. I danced and sung my heart out through school and college. Being in nature fostered my Nature Child aspect. I leaned to sew from my mother, and quickly graduated from making doll clothes to clothes for myself. In college, I got involved with civil rights and antiwar demonstrations, and my inner Rebel got a good start. Being a math-brained girl, I took up economics, and had a long career in urban planning, and traveled widely. I began quilting in the late 1990â&#x20AC;&#x2122;s. After a few years doing traditional patterns, I started studying with art quilters. To find my voice, I focused on color and nature. I love the excitement of color.

My rebel self likes to use high intensity and high contrast color schemes, and movement. To combat the stress of the 2020 lockdown, I created a series of quilts with happy and energetic colors and shapes, rebelling against the loneliness and boredom of the lockdown. Contagion of Joy uses high-contrast colors from my hand-dyed fabrics. It was created at the beginning of COVID-19, with the idea that contagion can spread joy around. Make a Joyful Noise, the second in my COVID-19 series, shows that we can share love and happiness during a difficult time. Round and Round We Go, is the third in the series, uses spirals, and represents the endlessness of the days and weeks stuck at home. The dark background reflects the depression so many of us have experienced.

Contagion of Joy 2020 23â&#x20AC;? x 24â&#x20AC;? Art Quilt Hand dyed cotton, appliqued, machine stitched 300. ebdavison@aol.com

Elizabeth B. Davison 36

Make a Joyful Noise 2020 22â&#x20AC;? x 24â&#x20AC;? Art Quilt Hand dyed cotton, appliqued, machine stitched 300. ebdavison@aol.com

Round and Round We Go 2020 19” x 21” Art Quilt Hand dyed cotton, appliqued, machine stitched 300. ebdavison@aol.com

Cindy Vondran I was born in Illinois in the mid-fifties. I was subjected to plenty of shaming, which was pretty typical for children born during that era. I was always known as the shy, chubby girl in school. My first babysitter was the teenager next door who was an accomplished artist. She taught me how to draw eyes at a very young age. When I look back on my life I can see that art has always played a big part in it. I loved all of my art classes from kindergarten onward. Having a strong background in traditional art and art history is the number one thing that has helped me excel in my chosen medium of digital photography. The main thing I like about digital art is that it is reproducible. I can sell an image without feeling like I am giving away my only child. I have always joked about liking photography because once I hit the shutter button my job is done. It isn’t really like that now that I have delved

deeper into digital art. Sometimes I feel like I could execute a painting faster than the time it takes to create a complicated digital piece. Working with digital software certainly isn’t for the faint of heart. You can spend years learning it without ever mastering it. The kind of art that my eye is most drawn to is very often sensual and seductive. In college, I studied art and art history, but also took a class in Greek and Roman mythology. I loved it so much that I decided to minor in Classic Civilization. I began to create mythological compositions using model photos, some of my own and some stock images. I titled them with goddess names. I have chosen images from my goddess series to illustrate three different archetypes, whether I identify with them personally or not. I find it very rewarding to incorporate my passion for history into my subject matter.

Sea Goddess 2019 14" x 19" Digital photography composite VelvetÂ paper print in float frame NFS cindyphotoart@gmail.com

Cindy Vondran

Nature Child 2018 24" x 20" DigitalÂ photography composite Canvas print NFS cindyphotoart@gmail.com

Rose Queen 2019 14" x 11" Digital photography composite Velvet paper print NFS cindyphotoart@gmail.com

Jeanette Davis My challenge as an artist is to use imagery symbolically to evoke the felt experience of otherness.That interest evolved as part of a bicultural identity and of being what is now referred to as a person of color. The inspiration for my art piece are the Orphan and the Magical Child archetypes. I was born figuratively straddling two worlds, each representing the opposite

ends of the ethnic, linguistic, and cultural continuum. That early sense of feeling like an outsider led me to identify with the Orphan archetype. Growing up, my tendency to daydream as a means to cope led to an identification with the Magical Childâ&#x20AC;&#x2122;s rich imaginal home. My art quilt, Hiding in Plain Sight, represents that world.

Hiding in Plain Sight 2020 16” x 20” Art Quilt Cotton fabric, thread, photo transfer jdavis4886@aol.com

Anita Centeno I am a fiber and mixed media artist. My mother was passionate about sewing and my father was a professional jeweler. It’s probably not surprising then that I am a jewelry artist in addition to being a fiber artist. My jewelry toolbox includes use of epoxy resin and shrink plastic to create focal pieces in combination with beads for wearable designs. My fiber art toolbox includes use of fabric scraps, most notably men’s silk neckties, to create small handbags and wall art pieces using machine and hand stitching. Recycling found objects and materials is integral to my creative process. This collection of altered tins was an opportunity to express my interpretation of archetypes explored in this study. Using an empty mint tin as my “frame” I could combine various elements to voice how I saw the particular archetype playing out in my head. The strongest archetypal influence for me is the Child. The activity of ‘play’ – being freely creative and curious in a spontaneous way – was foremost in creating these tins. Each representation was a snippet of new insights regarding the archetypal 44

influence on my actions (or absence of action) as an artist. Photo images of myself as a child were transformed into shrink plastic elements used in the tins. In surprising ways, various other elements would show up on my studio table and ask to be included in each piece – I gave them permission. In the depiction of the Child archetype I equate dancing with that freeing childlike quality that says “got your party dress on, got your dancing shoes on, the sun is singing, so dance your heart out!” (Cooperative dance partner not required.) In the Artist archetype I visualize myself as being a grand circus act. I constantly strive to validate myself as a real artist, not merely a one-pony show. Lastly, many women have dealt with bullying in one form or another. In this archetypal representation I take ownership by awarding a medal to myself for my ability to beat the Bully down and be the empowered woman that I am – roar!

The Bully Archetype - Roar 2020 3 3/4” x 4 3/4” x 3/4” Mixed Media Altered tin, Shrink Plastic, Found objects, metallic tape NFS anniecentenoT1@gmail.com

Anita Centeno The Child Archetype - Dance 2020 3 5/8” x 4 5/8” x 3/4” Mixed Media Altered tin, Shrink Plastic, Washi tape, vintage sewing notions NFS anniecentenoT1@gmail.com

The Artist: Greatest Show on Earth 2020 5 ½” x 3 6/8” x 1 ¼” Mixed Media Altered tin, Shrink Plastic, Washi tape NFS anniecentenoT1@gmail.com

Sue Ellen Romanowski One of my archetypes is the Nature Child. I was born and raised on a farm with many trees around the house and a ditch on the property. We hiked in the woods enjoying the plants, bugs, birds and other creatures. Now I am a gardener and much of my work is inspired by nature.

Summer Garden 2018 36 x 68” Art quilt Fabric $740. sueski@twcny.rr.com

Oak Ripples 2019 21.5 x 25 Art quilt Fabric $170. sueski@twcny.rr.com

Sue Ellen Romanowski 50

Roots 2018 32 x 28â&#x20AC;? Art quilt Fabric $330. sueski@twcny.rr.com

Tracy Thomas When I threatened to quit this preposterous avocation as a bowling ball artist, my Detective archetype researched Wikipedia. The just-asunlikely Jamaican Bobsled Team crashed at the Calgary Olympics in 1988, but won the gold medal at the 2000 World Push in Monaco. And they had fun. Without consciously selecting my path – or even my teammates – my life has been steered by archetypes. Leaning left (McGovern alternate in '72) and then shifting their collective weight later – to avoid disaster on my rudderless sled. I am the daughter of a seventeen year old Marine who survived Iwo Jima and a brilliant social worker mother. Doubleday author, retired advertising executive, I do everything to avoid the Big Four: shame, criticism, boredom and financial dependence. Unlike strategists and dreamers, my choices are driven by Being, Doing and Producing an immediate result. Like making this show. I've skidded to the finish line and am having fun.

I founded the KC Artists Coalition. I'm building an outdoor gallery: my backyard/copse. A painter who inherited her dad’s supplies, my new substrate is bowling balls donated by strangers on Nextdoor. My Miser is thrilled. Displayed on stakes. A rogue’s gallery. During five years as a City Council president, I studied Spiral Dynamics – the evolution of civilization from caves to modern communities. Archetypes, which are neutral, also reveal the same fractal: the spiral from dark to light choices of behavior. Every ball features that. My materials and processes are new to me. As Deepak says, intention transforms. I meditate before I resin-ate, drill, engrave, paint, or glue. I will figure this out. Twenty six unnamed balls in my living room stare at me like a parliament of owls. Who am I? Who indeed?

Tracy Thomas

The Detective 2020 13 1/2” x 11” x11” Mixed media on bowling ball NFS 123tracy@gmail.com www.JocoPost.com 52

The Judge 2020 15” x 9” x 9” Mixed media on bowling ball 277. 123tracy@gmail.com www.JocoPost.com 53

Lynn Woll The act of making is part of my soul. I grew up overseas, in a creative home. Entertainment was often needle, thread, and fabric to see what would evolve. As a teen I made all of my own clothes to have unique fashions. I learned to take a sleeve from this pattern, bodice from that, to create my own designs. I leaned into using fabrics in unique ways, with interesting combinations. I was not afraid to try new techniques or tools, learning by trial and error. As an adult, creating turned to projects my daughter and I could do together. As she began to spread her wings, it was time for me to spread mine, too. Starting with traditional quilts, I got my sewing mojo back and was quickly ready for more. A visit to the International Quilt Festival in Houston introduced me to art quilts, and knew I needed to learn more.

I’m inquisitive and enjoy the process of exploring and playing in quiet. Starting with an idea, I do rough sketches and let the materials take me away. Enjoying the creative moments of pulling this and that out, letting them speak to me for what’s next, until the piece tells me it’s done. Color has always played a part in my art and life. My Committee is made with fabrics that were mono printed, stamped, stenciled and painted. Each hand represents one of my archetypes. As I worked on the piece, I pondered each archetype and how they have influenced my life, past and present. I’ve allowed some shadows to be too loud, and realized some have been by my side most of my life, and are really strong in my everyday life.

My Committee 2020 23" x 47" Art Quilt Mono printed, stencilled and stamped fabrics NFS lynn@createwhimsy.com https://createwhimsy.com

Barbara Cardinal-Sorge I never fit in. As an infant I was allergic to everything. I could not breathe and felt smothered. I didn’t like to be held or touched. As a “prone to hospitalization” child, I sheltered myself in a world of make believe horses – made them clothes, read every horse book, and drew my favorite animal. Astride, I fantasized of being unrestricted and free. My first clay piece was a foal lying down with a bright white glaze done in the Canton, Ohio Art Center, at around age ten. Although I loved art, I majored in Spanish, and graduated from Kent State University. I moved to Texas in 1988, and there found Austin’s ceramic community as well as a wonderful teacher and mentor in Temple, Texas. I self-taught via potter’s workshops from Texas to California and then Bali. For a year I threw salsa bowls and later made wine glasses, carafes and focaccia dipping bowls for my husband’s family Italian restaurant. After a divorce and long separation from the studio, I redirected into dancing. This year, through the pandemic, forced isolation and the 56

Creative Strength Training course, I discovered that I was not doing what I loved, making art. I am trending away from my functional work and letting the child play with whimsical animal sculptures, using a multi-media approach. I focus on the animal, start making the head and let its caricature guide me. Other times I design the piece around a predetermined theme. No mistakes, just opportunities. My pieces are low fired with colored slips. The entire piece is coated with an intense black iron oxide wash, dipped into a clear glaze and re-fired. The process incorporates my favorites: highly textured and embellished surfaces, depth of color, freedom of form and really getting your hands into the clay. “Yo Yo Mom” throws out the toy to the delight of her closely pouched Joey, only to be snapped back to reality. I trust and hope this will not be the end of new art endeavors. My child within never wants to stop learning or playing.

YoYo Mom 2020 27" x 10" x 10" Ceramic Clay, low fire glaze, bead embellishment NFS bcardinalsorge@gmail.com lakebeltonpottery@weebly.com

Barbara Gideon Growing up overseas, without traditional diversions, we used our imaginations, asked What if?, and learned how to create using available resources. In adulthood, I continued to make a life of learning and leading in functional ways. Now I can just create. No longer thinking â&#x20AC;&#x201C; â&#x20AC;&#x153;What will I do with that?â&#x20AC;? I use clear colors and self-made designs, combining commercial and handmade fabrics with surface design. My work is fused, quilted, and embellished. Starting with sketches, I select fabrics and let the quilt tell me where to go, often influenced by my travels on surprising journeys. This piece began with a challenge I tried to resist; it was not in keeping with my

body of work. Yet, it needed to be made. By happenstance, a Zoom background became the impetus for the design. Inspired by the study of archetypes, the eye into my soul centers the background representing the universal archetypes, radiating from the center, my primary archetypes are depicted in color, pattern, and hand lettering, forming my lens on the world. The quilt is hand marbled, hand embroidered, beaded, stenciled, hand-lettered and machine quilted. In this period of confinement, there is stillness that takes me on yet another adventure of asking What if? and learning how. I can see more clearly now.

I can see more clearly now: Looking through the archetypal lens 2020 22â&#x20AC;? x 22â&#x20AC;? Art quilt Hand marbled, embroidered, and shaded with Shiva oil paint sticks NFS bhgideon@yahoo.com

Zoie E. Holzknecht I have always been an explorer. My first “archeological” discovery came when I was about seven or eight. Bored with the downstairs children’s floor of our small town library, I snuck upstairs and sat down in a deserted corner where I liked the look of the huge adult-sized books. Upon opening the first one I uncovered treasure: art, coins, jewelry and other artifacts from centuries ago. Ruins of lost civilizations. Forgotten knowledge. Fragments of worlds left behind. Today, I create my own “artifacts” from a place and time long past and imaginary. I work primarily with polymer clay because of its ability to mimic natural

surfaces like glass, stone, leather, wood, bone, and paper, or to remain enigmatic instead. The necklaces shown here are part of a series of twelve pieces, entitled Signate. Each piece represents an archetype chosen and explored during Jane Dunnewold’s 2020 Creative Strength Training course. I hope this work invites the same type of questions I had as a child. What type of people might have created this and what was its purpose? Who might have held it last and how was it lost? What does it mean to find it now? To touch it? To wear it close to your skin?

The Artist 2020 68mm x 81mm x 12mm Mixed Media Polymer clay, sterling silver, ammonite fossil 320. ZoieHolzknecht@gmail.com wyrd_wand on Instagram 61

Zoie E. Holzknecht 62

The Child 2020 55mm x 65mm x 13mm Mixed Media Polymer clay, sterling silver 200. ZoieHolzknecht@gmail.com wyrd_wand on Instagram

The Teacher 2020 65mm x 80mm x 10mm Mixed Media Polymer clay, sterling silver 250. ZoieHolzknecht@gmail.com wyrd_wand on Instagram 63

Sue Cortese I am originally from Buffalo, New York. I lived in Green River, Wyoming, for eleven years, which is where I learned to quilt. I have lived for the last twenty-two years in Holland, Michigan. As an active member of the quilting community for the last 25 years, I have gone to weekly bee meetings, retreats, taken classes, sold my hand-dyed fabrics, taught classes, organized and judged quilt shows. During the last ten years, I have made a conscious effort to make my art quilts more original. My process starts with dyeing my own fabrics, allowing me to create a wide variety of colors for my palette. I use improvisational piecing to build my

artwork, letting it dictate my direction. After I am finished constructing a piece, I typically machine quilt my work on my Gammill long arm. Some pieces are hand quilted. Either way, I use my quilting stitches to finish the work, adding texture and detail. In World Turned Upside Down, I wanted to draw attention to our environment. As a Nature Child, the changes in our landscape trouble me. In this particular work I am contrasting the color of a normal healthy environment to the one I noticed in drought-stricken Yosemite National Park. I am hoping to warn the frog sitting in the pot of boiling water that the he needs to jump before itâ&#x20AC;&#x2122;s too late.

World Turned Upside Down 2020 55” x 50” Art Quilt Cotton and Cotton Blend Material, Cotton and Wool Batting. www.suecortesequilt.com scortese7@gmail.com SueCorteseQuilt.com 65

Jeanette Floyd My spark of creativity began when my father showed me how to grow Sunflowers for a summer project. I have always loved creating â&#x20AC;&#x201C; gardening, jewelry-making, painting, crocheting, and sewing. Witnessing the blossoming of imagination to fruition is exciting. I crocheted for years, because I could take my work when I traveled, but my creativity in general, diminished. Creating and giving to others stopped being one of the central points of who I was, but I began crocheting again and learned to knit in 2000. I entered the Orange County Fair fiber arts competition and began winning awards for my work. I was hooked, literally. I began sewing again and was introduced to the world of quilting. Art quilt design is my current attraction, but like a child I am learning, growing, and I am sure I will continue to expand my artwork portfolio.

The art quilt Hills, Valleys, Curves and Spikes was developed as a result of my Child archetype playing with the piece in order to express my love of color. The designer of the fabric and basic pattern granted permission to make the piece my own. I could do whatever I liked, which was great fun. The quilt also depicts lifeâ&#x20AC;&#x2122;s quieting effect on a child growing into adulthood, as it takes unexpected twists and turns. I felt compelled to create The Rainbow Mountain when I discovered the reason we now see that mountain in Peru. For thousands of years this landscape was blanketed in snow and no one knew the mountain range was naturally beautiful colors. Unfortunately, this area is now a tourist attraction. Garbage and human waste have become an issue for the area. The Nurturer archetype in me wanted to create an image of it in fabric, as a reminder that global warming is impacting our world.Â

Hills, Valleys, Curves and Spikes 2019 69" x 53" Art Quilt 475. jennasfiberarts@gmail.com 67

Jeanette Floyd Rainbow Mountain, Peru 2018 39” x 34” Art Quilt 500. jennasfiberarts@gmail.com

Linda Nelson Johnson I was an eight-year-old Iowa farm girl when I began sewing with my mother’s guidance. I quickly graduated to making my own clothes. Accepted as a freshman student of Home Economics at Iowa State University in 1969, my first two years of college were shared with the welcomed birth of two children. After mothering full-time, I returned to the university in 1981, changing my major to Interior Design and completing a Master of Arts Degree in 1986. I accepted a teaching position at Arizona State University and later Washington State University, retiring in 2013. Retirement has provided the opportunity to return to my first love, sewing, combining it with art and design. My most recent works are inspired by studies of archetypes. My Story highlights several of my archetypes. At the top is an illustration of my love of sewing and art – the Artist archetype. The tree represents the Mother archetype – life giver and source of nurturing. At

right of center is a representation of the Patriarch archetype – one who has the courage to step out and go forward. The graduation cap symbolizes my Pioneer – exploring undiscovered territory. The books represent my Teacher and Student archetypes. Circular shapes illustrate my Engineer archetype, converting creative energy into practical expression. My work in Interior Design is represented by the deconstructed lath and plaster wall printed on fabric. In the center is a quote from Nicolas Chamfort: “The most wasted day of all is that on which we have not laughed.” The two smaller pieces, Look! Butterflies! and My Ladybug Garden, are from my series, Through a Child’s Eyes. Inspired by the Child Archetype, they illustrate the child’s world seen large and vibrant through her eyes. Each piece utilizes hand-dyed fabrics adhered with Misty Fuse. Raw edge appliqué technique was employed to add dimension.

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Look Butterflies! 2020 9 .5” x 9 .5” Art Quilt Hand Dyed Cotton, Nylon Netting, #60 Polyester Thread NFS LnJStudio@gmail.com

My Ladybug Garden 2020 9 .5” x 9 .5” Art Quilt Hand Dyed and Screen-Printed Cotton, Nylon Netting NFS LnJStudio@gmail.com 71

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My Story 2020 31.5” x 31” Art Quilt Hand Dyed and Photo Printed Cotton NFS LnJStudio@gmail.com

Linda A. Miller My life as an artist and a yoga teacher have influenced an ongoing practice of reflection and study in order to understand myself and others. Exploring symbolic archetypes has become a part of that discovery process in recent years. I was inspired to visually express selected archetypes that I found to be most influential. Intrigued to experiment with personal and family photographs, I returned to a figurative approach. In Photoshop I manipulated the images, which included photos, drawings, and hand painted elements. The final compilations were commercially printed to fabric. Once assembled, I hand embroidered the quilt surface

to heighten texture. Hand work is my favorite stage in the making process, allowing me to slow down and fully engage with the piece, stitch by stitch. Here I was present with each evolving archetype, open to the direction it wanted to go. The Child draws on early memories of mountains, lakes, and family. My Nature child brings me back to my senses with creative play. The Seeker, a driver of my spiritual journey, encourages looking both to the wider world and within for answers. With this series, I aspired to evoke the many layers that make up my archetypal self-portrait.

Linda A. Miller The Child 2019 15â&#x20AC;? x 11.5â&#x20AC;? Art Quilt Printed cotton, embroidery floss, wool felt NFS linda@lindaamiller.com lindaamiller.com

The Seeker 2019 14â&#x20AC;? x 11.5â&#x20AC;? Art Quilt Printed cotton, embroidery floss, wool felt NFS linda@lindaamiller.com lindaamiller.com

Cecelia Adair My Nature child, full of innocence and joy, is abused by mates, viruses, and lack of time with nature. I was inspired to capture the life learning of this past year, encapsulated in a moment. Forced to grow and emerge from my cocoon to the reality of today, and life’s changes. Layers of flower pounding, eco-dyed leaves, and embroidery illuminate the times. Flower pounding captures the now, and sends it preserved into the future, immortal. Ecodying speaks of the past with its subdued colors, remembering yesterday gently faded. Embroidery has been my companion through the decades of my life, intertwining the past with the present, and keeping me whole.

Nature Child 2020 40” x 17” Textile Art Cotton sateen, flower pounding, embroidery NFS Cecelia.adair@gmail.com

Janey Crook It was with a certain amount of trepidation and anxiety that I signed up for the CST program. I knew I was going to be way out of my depth â&#x20AC;&#x201C; which I certainly have been, but I have learned so much over these last months. With the monthly videos, essays, online feeds, guest artists and thought provoking readings, I found this course has been a complete eye opener. My piece represents my thought process when beginning a project. All my ideas, writings, photos or other drawn images are put into The Box where they sit and bubble for a while until I have enough ideas to start. Thank you so much to Wayne... who is an extremely patient and kind man, for guiding me through the intricacies of sending workable photos. It was much appreciated. I have so enjoyed this, my first CST program! It may not be my last.

Out of the Box 2020 16" x 19" Art Quilt Hand dyed cotton Fabrics NFS

Judy Miller “Wherever you go becomes part of you” – Anita Desai I had no idea that opening the door to my local quilt shop was actually opening a portal to a lifelong adventure. I didn’t know that a sewing machine was a magic carpet to new ideas. I only wanted to make beautiful things. From the beginning, I was a little different. Others were creating traditional quilts and I was using novelty fabrics and wild colors. At show and tell, they would smile kindly, and wonder, “What is she thinking?” Then, I met Freddy Moran, who said, “I have no use for brown, and RED is a neutral.” My carpet righted, and off I flew. How lucky I have been on my journey, to have met and to have learned from wonderful, inspirational women who have taken the time to teach and to befriend someone who had no idea where she was going. My journey has taken me to Monterey, Napa, the Hudson

River Valley, Lake Tahoe, and my own backyard. I’ve been around the world on the Internet. Every class, and online lecture introduced me to new ideas and fellow seekers. I gathered gems. Some of them were techniques, others were materials, some were insights into myself – the best were honest friends. This piece is about that journey. I have woven together a bit from here, with a tool from there and added a gem from somewhere else. There are lots of X’s to mark the spots that have provided me with new insights or the next turn in the road. It is also a heartfelt thank-you to those who have guided, inspired and shared my journey. This piece will always be unfinished. As you view it, I hope you will ask,“Why did she leave hanging threads? Why are the edges frayed? What do the knots signify?” I hope this art work will encourage you to seek, no matter where it leads you.

Treasure Hunt 31.5" X 17.5" Weaving with embroidery Burlap, Cotton and Embroidery Threads NFS jacknjudymiller@comcast.net

Kristin Rohr I was raised by a history professor and an art teacher. In second grade my mother led our art class in an exercise in which we drew a picture, and then translated it into felt appliquĂŠ and embroidery. Years later I continue to make art from cloth. The interplay of order and chaos, intentional and random events, is endlessly fascinating and has been the basis of much of my art. I portrayed archetypes by stitched marks that convey the feeling of the archetypeâ&#x20AC;&#x2122;s activity. I started with a base of meditative stitching that is done without looking at the cloth; this provides the work with some random elements. As needed, I added intentional running

stitch, fly stitch, French knots, seed stitches and machine stitching to the meditations. Nature Child: In the Flow. The Nature Child loves to lose herself in nature, especially where waves lap back and forth across the beach. Rebel: Outside the Lines. A Rebel knows there are social rules and conventions, but feels free to flow right past them. Perfectionist: Do It Right. The rigid demands of perfect regular stitching meet real life. A perfectionist often requires such work, but just how appealing is it?

Nature Child: In the Flow 2020 8” x 16” Embroidery Threads and hand-dyed linen NFS kristinrohr.com

Kristin Rhor Perfectionist: Do It Right 2020 8” x 16” Embroidery Threads and hand-dyed linen NFS kristinrohr.com

Rebel: Outside the Lines 2020 8” x 16” Embroidery Threads and hand-dyed linen NFS kristinrohr.com

Linda Vandiver My love of nature and wildlife began during my childhood, on a horse farm in Maryland. I was always outside, even when I wasnâ&#x20AC;&#x2122;t supposed to be. Although I stitched as a child, sewed in my 20â&#x20AC;&#x2122;s, and started to quilt when I was 50, I never did any art work until 1995. I then started learning about textile art through friends, taking classes, and experimenting. I have come full circle in recognizing that the Child Archetype plays a major role in my life. When I wake up with an idea and write it down, it can evolve into an art piece. The idea may completely change, but being spontaneous is where the fun is for me. I

do work with a plan sometimes and my most successful pieces have begun with a plan. I love to work with fiber whether it be fabric, yarn or stitch. Building layers to tell a story can utilize painting as a base, followed by adding fibers, felting and stitching, or it can begin with freehand lettering and drawing on fabric. The Saboteur/Seeker Archetypes piece depicts coming out of the darkness toward the light. It led me to create the second piece, The Child Archetype, using fun scribble birds from Texas!

Linda Vandiver The Saboteur 2020 25” x 14.5” Mixed Media Textile NFS qltnlinda@aol.com

Linda Vandiver

The Child Archetype 24” x 14” Mixed Media Textile NFS qltnlinda@gmail.com

Martina Munroe I was born in Montreal, Quebec and raised in Labrador, Quebec and Ontario. My parents were creative people and exposed me to many forms of art. My mother sewed and tried various fibre techniques which I got to enjoy with her. After receiving a BA from York University I worked in an office while taking night courses in various visual arts disciplines. These included jewelry making, silk screening, quilting and ceramics. In 1990 my husband and I moved to Whitby, Ontario where we raised our two children. For the past three years we have lived in Port Hope where I now pursue art full time. I owned and operated a yarn store for twelve years selling yarn, designing knitting patterns, and teaching knitting. My work always starts with fibre, but I allow the piece to tell me how to proceed, so

often include other techniques as well. My two works start with the theme of water. I often return to the theme of water because I am most at home in or around bodies of water. I also find it fascinating that we are composed of 60% water. Water is literally life. The mermaid piece is inspired by the Healer Archetype. The Mermaid is the healing entity in the water. She may be a myth, but watching the ebb and flow of the ocean it is easy to imagine that she is there waiting â&#x20AC;&#x201C; ready to listen and sooth if you need her. My second piece is inspired by the Bully archetype. This piece is a musing on the beings in the world who lord their beauty over others. Do they use their physical beauty to bully those who do not measure up, or are these fish insecure and use their beauty to bolster themselves? It is hard to know.

Martina Munroe Mermaid Healing 2020 12” x 14” Mixed Media Textile Cotton, Organza, Acrylic Paint 275. Martina.munroe@gmail.com 88

Healing Waters 2020 6” x 6” Mixed Media Textile Wool, silk, Acrylic Paint 60. Martina.munroe@gmail.com 89

Martina Munroe Beautiful Bullies 2020 13” x 13” Mixed Media Textile Wool, Cotton, Acrylic Paint 295. Martina.munroe@gmail.com

Pam Lowe I am a fiber artist, recently drawn to printmaking and painting. I loved sewing my clothes in junior high to be distinctive, and taught myself to quilt in college. Nursing school saved me. I didn’t have to become a pharmacist (like my mother). Much later, I studied improvisational piecing, but now I find more freedom and joy in the “ease” of making, with watercolor, abstract painting, printmaking, and digital abstraction. I choose highly textured croton leaves and Spanish Moss to mono-print on paper, using a gelatin plate and acrylic paints. It is easy to get lost in the simplicity and yet the complexity of these leaf forms. When the prints are dry, I cut into them to use individual leaves as collage elements applied to a painted canvas (or I mount the full print to a panel). Inks and oil pastel are added for contrast and detail to complete the work.

The pieces for this exhibition were inspired by the Nature Child archetype. The absolute Center of my Gravity this year has been the gift of working in the dirt at my SO’s tropical landscape nursery, propagating new life, while enjoying the luxury of the Live Oaks; contemplating love, safety, the colors of the sky and land, and finding a renewed sense of purpose. I had an epiphany recently, gazing up at the Spanish Moss in the evening light. I remembered the free explorations under my grandmother’s Florida oak trees, dripping with this same Spanish Moss. As a child, the first thing I did when visiting “Nana”, was to pull down a clump of this magical fiber, and plop it onto my pixie-cut head, dreaming of long-flowing hair, and mystical places. It meant unconditional love from my father’s mother, within a lush and wild “playscape”. The freedom to be silly and explore for hours on end. I was there, then, and I am there, now.

Pam Lowe

What Comes Around 2020 36" x 36" x 1.75" Mixed Media Botanical monoprint collage acrylic paint/inks 500. plowestudio@gmail.com PamLowe.Art 92

Spanish Moss I 2020 10" x 8" x 1.75" Botanical Monoprint 60. plowestudio@gmail.com PamLowe.Art

Pam Lowe

Spanish Moss II 2020 8" x 8" x 1.75" Botanical Monoprint Cradled Panel 50. plowestudio@gmail.com PamLowe.Art

Précille Boisvert The Student is my archetype. I have sought to learn throughout my life. After graduating from Law School, I studied to become a teacher of French as a Second Language, in Canada. My next move was Hawaii, where I worked as a District Teacher for Languages Education. While working, I obtained a Master’s Degree and a PhD in Education. In retirement, time has been on my side, to delve into art through online classes. Online learning suits my location and isolation in the islands. Through online classes, I have learned surface design techniques, painting, silkscreening, monoprinting and drawing on paper and on fabric. The three pieces in this exhibition are based on a photo I took in Amboise, France during a trip with my husband. I used piecing and some hand dyed fabrics in the first one (A is for Amboise, 2016), and silkscreened whole

cloth fabrics for the other two, with dense stitching to convey colors and values. I am passionate about caring for the ones whose voices we don’t always hear. For example, the circumnavigation of the native canoe Hōkule’a touched me deeply. The pride and joy we all felt in Hawaii about the accomplishment of these young seafarers without navigation instruments or a motor, with the ancient native knowledge of winds, waves, currents and bird movements, was exhilarating. This is the theme of a series I have started this year, The Canoe Plants – plants that the first explorers to our islands brought along with them to sustain them during their long voyages. The second series is inspired by the Amboise pieces, albeit featuring the village “Grandes Piles” (Quebec, Canada) where I was born, and for whom the canoe, a different one, was also important.

Précille Boisvert

Dancing in the Rain 2020 16” x 19” Wholecloth Silkscreened Art Quilt NFS boisvert@hawaii.edu

A is for Amboise 2016 16” x 18” Pieced Art Quilt NFS boisvert@hawaii.edu

Précille Boisvert

Amboise 2019 21” x 22” Wholecloth Silkscreened Art Quilt NFS boisvert@hawaii.edu

Cheryl Costley I was inspired by my Child archetype to create “Playing Around”. Although I identified most with the orphaned and wounded child who had lots of responsibility and lived up to that expectation, I realized how important play was to me as a child, and still is as an adult. Thus, as part of the CST program, I gave myself permission to play with my favorite medium of cloth by experimenting with surface design along with re-inventing some pretend characters from childhood. “In the Corner” is the result of allowing my Artist archetype to keep my tribe at bay while I create art. “Lichen” is the result of unexpected materials (August challenge) coming together. I took the photo of lichen on wood several years ago and had photocopied it onto cotton where it hung on my design wall. The shibori dyed piece was looking for a subject and there it was.

Lichen 2020 22” x 26” Art Quilt Cotton, Procion dyes, Photocopy on cotton 550. cherylcostley@gmail.com www.cherylcostley.com 99

Cheryl Costley

In The Corner 2020 28” x 22” Mixed Media Textile Cotton, Linen, Procion dyes NFS cherylcostley@gmail.com www.cherylcostley.com

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Playing Around 2020 28” x 28” Art Quilt Cotton Fabric, Procion dyes NFS cherylcostley@gmail.com www.cherylcostley.com

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Lynn Verschoor My first experience with textiles began when I taught myself to weave in high school. However, while attending art school in the early 70s, we were discouraged from using â&#x20AC;&#x153;craftâ&#x20AC;? materials, so I pursued the study of sculpture using approved materials like plaster, concrete, wood and metal. After school, I reclaimed my pursuit of fibers, learning to spin, weave, and felt. Over the years I began focusing on surface design and experimenting with dye and paint to study color, pattern, and texture with an eye to musing about the complex structures in the natural world, as well as the complexity of human relationships. In nature, everything is created of smaller and smaller components which are critical to the success of the whole.

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In relationships, everything is composed of layers of experience, instinct, impulse, and influence. In attempting to decipher natural order and our position in that order, I became interested in symbols and archetypes. These pieces reflect my personal association with the ArtistScientist archetypes and my efforts to tease out my fascination, insights and observations of the natural world and human nature, as well as the opportunity to experiment and play with materials. I am attempting to use the elements and principals of design to work through personal meditations regarding the complexity of natural order and ultimately our place in that order.

Forest for the Trees 2020 38” x 28” Mixed media on cotton NFS

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Lynn Verschoor Marshlands 2020 24” x 21” Mixed media on cotton NFS

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Cityscape 2020 20” x 20” Mixed media on cotton NFS

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Marilyn Waite I was six when my father died in the jungles of Colombia, and left a mother unable to cope. My path was set – take care of myself. Go to school, put myself through college, marry, have children. Since my marriage I’ve lived in 27 different houses and four different states.

marble fulfilling a commission and giving me validation. The maiden was leading. My art and its associated experiences have sent me messages. I am continually learning to be attentive, to notice, to learn. The archetype study within CST is enabling me to deepen my understanding of this path.

Finally returned to California when my dark moment of the soul hit. I joined public health in Silicon Valley and soon after, had my Aha! moment with clay. In a meditation with clay, a maiden appeared in my hands, showing me the way. Dramatic and emphatic.

Now, in the last phase of my life, textiles have become my medium of choice. Needle and thread are meditative and soothing to my soul. The complexities are far different than other mediums. I’m combining mediums as in “Transformation of the Invisible”. With this piece I used a small painting I call The Blob, which depicted a recurring dream.

“Marilyn emerges from stone black as night Merging becoming one with the light From stone of marble comes the inner me Becoming the Woman I was meant to be…" My journey began. I pushed and pulled clay, creating shapes.Through marble I built my courage. Diamond blade saws and chisels eventually conquered a ton of

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Once I concretized the image my dream disappeared. I have transformed the last vintages of The Blob into joy, printed on organza, expressed through color painted onto soft luxurious silk, and sewn onto layered dyed silk.

Transformation of the Invisible Child 2020 14” x 13.5” Mixed Media Textile NFS marilynpwaite@me.com 107

Kate Dean We always had art materials, though not always a winter coat. My father was a photographer and printmaker. My mother, a garden designer, plant dyer, and weaver. Books were plentiful. Fairy tales and fantasy encouraged a sense of wonder and the magical/mystical. During an early visit to my grandparents’ house, I discovered two ropes hanging from a tree. I had never seen a swing. My brother and I found that it moved. We could lean on it, lift our feet off the ground, and an adult might come along and gently move us back and forth on the swing. In subsequent visits, we could swing higher, so that our feet touched the branches and we were weightless for a moment before swinging down again. Nature Child and Magical Child joined together to find other rope “swings” – in the hayloft, caves under forsythia bushes,

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theater costumes, musical instruments, ice skates, a haunted house through the woods. I still look for magic and mystery in nature, and cultivate a sense of wonder. I’m a third generation weaver, from a household full of art and artists. I’m a color/texture weaver. I am experimenting with tapestry weaving to change the angles of the threads and to increase expression. I love stitching on paper. I spin paper and other materials, play with stitched-resist shibori on and off the loom, and make artist books, sometimes with my poetry. I make art that begs interaction. All art is about the body in some way, and activating senses in addition to sight increases engagement with the art and brings the viewer closer. I prefer work that isn’t flat or square, to keep it dynamic.

Dreaming 2020 8.25” x 3.25” Tapestry; cotton, hemp, wool NFS KDeanArcoIris@gmail.com

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Kate Dean

Trajectory 2020 5.5” x 4.75” Tapestry; cotton, wool, polyester NFS KDeanArcoIris@gmail.com

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West Wind 2020 4” x 4” Tapestry; cotton and wool NFS KDeanArcoIris@gmail.com

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Roberta Nelson Making things out of fiber and related materials has been a lifelong exploration. It is part of who I am. It is what calls me to know myself through play, learning, frustration and the magic of creating. The natural world, spiritual insights and divine mistakes inspire my work and keep my creative juices flowing. In 2009, reeling from the loss of my creative muse and best friend, I enrolled in the University of Washington Fiber Arts Certificate program. This began a journey of finding and developing my creative voice. My commitment to art flourished and grew as I took classes from teachers and mentors, Jane Dunnewold, Lisa Call, Dorothy Caldwell and others. The Pioneer archetype speaks to me. I follow my intuition and relish making something new and different. This piece was inspired by an old wedding

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ring quilt in my giveaway pile. It was a serendipitous adventure that took me into exploring new processes and materials. It did not go where I thought it would. I had to continually look for creative solutions to solve problems to move it forward. I got out of my own way even when I wanted to quit while continuing to seize the opportunity to create something original. Each piece I make is an unfolding of disparate elements, hard and soft, organic and linear, shaped into a meaningful whole. Layers create depth inviting the viewer to look beyond the surface. I utilize creative design processes of coloring, patterning and structuring of fiber, fabric and metal. This includes the manipulation of materials using techniques such as dyeing, painting, printing, stitching, embellishing and felting.

Interconnected (Front) 2020 14" x 14" x 1" Mixed Media Textile NFS robertasn@comcast.net https://www.facebook.com/roseeaglestudio

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Roberta Nelson Interconnected (Back) 2020 14" x 14" x 1" Mixed Media Textile NFS robertasn@comcast.net https://www.facebook.com/roseeaglestudio

Carole Pollard Having wanted to be an artist since childhood, I entered college intending to major in Art and English. However, lacking the skill and the work habits to survive as an Artist, I shifted to English and taught for nearly forty years. Approaching retirement, I determined to reclaim art. When I discovered curved two-patch piecing, my path was clear. However, the predictable consistency of the curved two-patch designs was merely pretty. I wanted to make art with meaning, if I could figure out what meaning was. I strive for strong graphic qualities, and those carry the visual power in my work.

Eventually I realized that the worldâ&#x20AC;&#x2122;s great literature contains an inexhaustible fund of ideas, and many of my quilts have been inspired by a poem or a quote. Although related, the art and literature remained separate from each other. And yet they inform each other which is why quotes continue to be part of my stitched witness. When I finished the mask design for what would be either the Artist or the Child, I realized that they were inseparably fused. That mask is the physical expression both of my childhood desire and of its profound truth for me. The Lover and the Queen are major archetypes within me; the Artist/Child is the core.

But what about meaning?

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Carole Pollard

The Queen 2020 10.75" x 7.75" Quilt NFS lionsong@roadrunner.com 116

The Child/Artist 2020 10.5" x 8" Quilt NFS lionsong@roadrunner.com 117

Carole Pollard

The Lover 2020 11" x 8.25" Quilt NFS lionsong@roadrunner.com 118

Richard Webster My ‘archetype’ is the gambler. Each thing I work on has risk to it and moving forward is often difficult. The gamble with this piece of wood was special and it sat around my shop for months. It wasn’t round, the grain was going in many directions and the natural edge was very dangerous. I wasn’t even sure I could connect it to the lathe. Problems to confront were in every direction. I was determined to at least give it a try. The gamble was whether it would blow up, would it just be a waste of time, or would I hurt myself with this natural edge flying around at 1000 rpms? Half way into the bowl I was getting very excited because the colors were strange

and wonderful, the lines were very active and the voids were amazing. Yes voids! The voids made it more dangerous, but also more exciting. It was becoming a work of art, not just a bowl. Up until the last moment of working on this piece I was not sure it would stay in one piece. Now it has become one of the nicest things I have made and I love it. As a professional musician I faced challenges and risks, each day and each concert, but this project was all me; not part of a large group. Part of what I have learned from this course is to be brave and gamble; failing is learning.

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Richard Webster 120

Moon Crater 2020 14" x 5" Redwood Burl 320.

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