March 2015 / Issue 20
Cher Spring FRENCH-INSPIRED VINTAGE STYLE
FASHION DESIGNERS
Point Line & Plane
THE ART & ASSEMBLAGE OF
Page Turner
Table of contents 6 Letter from the Co-editors
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Behind the Scenes
Paprika Southern Recommends
10 Our picks for what’s new and notable in arts and culture
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Celebrate St. Patrick’s Day
MIMOSAS FOUR VA R I AT I O N S O N T H E CO C K TA I L CLASSIC
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Point Line and Plane We talk slow fashion and sustainability with three designers headed to Charleston Fashion Week
Cher Spring Our spring fashion feature will inspire you with 1960s vintage styling, French charm, and a touch of lace
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A Stitch in Time 42 The Art and Assemblage of Page Turner
52 Celtic Wire and Bead Bracelet
Follow our DIY to make your own wire-wrapped bracelet
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Letter from the co-editors
D
ear readers, this month we are beyond excited to bring you our spring fashion issue! We hope, though, to come at the subject of fashion from an unexpected route. In this month’s volume, we interview three designers who are on their way to Charleston Fashion Week about their own work, but also about sustainability and a new direction for the fashion industry. We discuss how they, like a growing number of other independent designers, are taking on responsibility for the earth and the environment in their business practices in an attempt to bring more awareness to the issues the industry faces and offer a solution. We also share our own take on spring fashion, with a feature inspired by vintage French style, 1960s New Wave cinema, and the glamour of Brigitte Bardot. In our Q&A with Virginia-based artist Page Turner, we talk with an artist whose work, while not directly related to fashion, incorporates textiles, historic women’s fashions, and the sewing and fabrication techniques that have traditionally been carried out by women. Of course wee couldn’t forget to recognize St. Patrick’s Day in our March issue! To round out the month, we also share four variations on the mimosa recipe that will serve you beyond St. Patrick’s Day brunch into other spring celebrations, and a Celtic-inspired jewelry project that is perfect to accent your own spring style. We hope you enjoy the issue!
Bevin & Siobhan if you are interested in purchasing photographs from the magazine, please contact mail@paprikasouthern.com www.paprikasouthern.com
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THE TEAM BEVIN VALENTINE JALBERT CO-EDITOR SIOBHAN EGAN CO-EDITOR
CONTRIBUTOR
MARY MELISSA JOHNSON
CLICK HERE TO READ MORE ABOUT OUR CONTRIBUTORS page 7
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Behind the scenes in March
Shooting our Celtic-inspired wire and bead bracelet DIY
Bevin’s cat Zooey supervises our mimosa shoot
Behind the scenes at our interview with the designers of Point Line and Plane
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Sharing sneak peeks at our vintage French-inspired spring fashion shoot in Charleston
We love sharing sneak peeks of what we’re up to throughout the month, as well as connecting with our readers! Stay in touch and a get a behind-the-scenes look at what’s coming up by following us on Instagram, Twitter, and Facebook. FOLLOW PAPRIKA SOUTHERN
INSTAGRAM / TWITTER / FACEBOOK page 9
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Paprika Southern Recommends Our picks for what’s new and notable in arts and culture Bowl and Spoon Sara Forte
It’s What I Do: A Photographer’s Life of Love and War Lynsey Addario Reminiscent of Shutterbabe by Deborah Copaken Kogen, Lynsey Addario’s It’s What I Do: A Photographer’s Life of Love and War tells the story of a young female photojournalist who runs head first into war to tell the stories of the people affected by it. It’s obvious that the boy’s club that Deborah Copaken Kogen dealt with in the 1980s is still alive and well today and Addario too has had to fight to be taken seriously. Available now www.paprikasouthern.com
The author of the popular vegetarian food blog The Sprouted Kitchen releases her second cookbook this month. Sara Forte’s new book, Bowl and Spoon, will focus on the bowl-based meal, a staple of vegetarian cooking. With her signature seasonal, healthy recipes that effortlessly combine grains, protein, vegetables, and texture, along with her husband Hugh Forte’s stunning photography, this new book is certain to delight both vegetarians and omnivores alike. Available March 31
Behind the Lens: Women Photographers on the South and Appalachia The Tipton Gallery at East Tennessee State University will present Behind the Lens: Women Photographers on the South and Appalachia. The exhibition includes artists such as Debbie Fleming Caffery, Magdalena Sole, Susan Worsham and many others. An exploration of imagery of southern and rural subjects, this show takes on the particular genre of southern photography from the viewpoint of women photographers. The exhibit is produced with the support of the Do Good Fund, a non-profit initiative intended to promote southern photographers and increase accessibility to museum-quality photographs. Show runs through March 28. Learn more here. page 10
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Van Gogh, Manet, and Matisse: The Art of the Flower With the start of spring, now is the perfect time to take in this upcoming exhibition at the Virginia Museum of Fine Arts in Richmond. Focusing on floral still lifes by French painters of the 19th and early 20th centuries, in addition to the titular names, the show is comprised of over thirty Romantic, Impressionist, and Expressionist artists, including Eugène Delacroix, Gustave Courbet, and more. Produced in conjunction with the Dallas Museum of Art, this in the first major American exhibition to bring together these particular works. This show will be a fascinating look at how major, often revolutionary artists, took on and reworked a most traditional subject matter. March 21-June 21. Learn more here. page 11
Unbreakable Kimmy Schmidt
The Firewatcher’s Daughter, Brandi Carlile Brandi Carlile’s latest album The Firewatcher’s Daughter, released this month, features the strong songwriting and vocals Brandi Carlile fans have come to adore. The album, recorded mostly as first takes with little or no rehearsal, presents raw and honest musical storytelling. Her music has been described as Americana Country Folk Rock with a little bit of blues. All of that comes through on The Firewatcher’s Daughter.
Unbreakable Kimmy Schmidt, a comedy series created by Tina Fey started streaming on Netflix on March 6th. The hilarious show starring Ellie Kemper (The Office) and Jane Krakowski (30 Rock) tells the story of Kimmy Schmidt who, after being convinced by a cult leader that the world had ended, spent fifteen years in an underground bunker with three other women. After being rescued she ends up in New York City trying to figure out how to navigate life. Available now
Available now www.paprikasouthern.com
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Mimosas
FOUR VARIATIONS ON THE COLORFUL CLASSIC
Words by Bevin Valentine Jalbert Image by Siobhan Egan www.paprikasouthern.com
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ith St. Patrick’s Day, spring brunches, and bridal showers on the horizon, it’s time to dust off your champagne flutes and fill them with something flirty and festive! The variations on the classic brunch cocktail the mimosa are endless, but here are four of our favorites, perfect for whatever fêtes you’re planning this spring.
The Classic
The Dreamsicle
For a timeless cocktail that embodies simplicity and elegance, nothing beats the classic combination of orange juice and sparkling wine. We love a dry wine (Brut). For a traditional take, fill your glass about 2/3 full and top off with sparkling wine, or you can alter the proportions to taste. Garnish with fresh or frozen berries, or for a drink with more kick, add a splash of Grand Mariner.
If you love cocktails that can double as dessert, a Dreamsicle is the drink for you. Bonus? It couldn’t be easier to make. Simply spoon sorbet or sherbet in the flavor of your choice (we chose raspberry) into a glass and top with sparkling wine.
The Georgia Peach
Commonly known as a Bellini, we love incorporating our favorite southern fruit into a brunch cocktail. Puree peaches (fresh if they’re in season, otherwise thaw frozen fruit) in a blender with sugar or simple syrup to taste, and add water to reach desired consistency. Strain in a mesh strainer, pour into a flute, and top off with sparkling wine.
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Tip: To make non-alcoholic versions of any of these drinks, replace the wine with sparkling grape juice for a drink that is fun and festive. (And we think ginger ale in the Dreamsicle would be delicious, too!)
Grapefruit Mimosa This variation can be done with any fruit juice (blood orange, strawberry lemonade, mango...take your pick!) but we chose grapefruit for its lovely muted peachy color. If you use fresh juice, be sure to strain the pulp first if desired. Just like the classic, combine juice and sparkling wine in the proportions of your choice, and garnish with fresh fruit. www.paprikasouthern.com
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Point Line and Plane Three Designers Talk Sustainability and Slow Fashion
WORDS BY BEVIN VALENTINE JALBERT IMAGES BY SIOBHAN EGAN
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t began on a whim. Orea Guthrie, working on an interior design job with her partner Johanna Hickey, saw an ad on Craig’s List seeking contestants for the emerging designer competition at Charleston Fashion Week. As a former fashion and photography major at Savannah College of Art and Design, Orea had imagined one day having her own fashion line, and, with Johanna, they put together an entry. They didn’t know what they were getting into. Immersed in the world of interior design, Charleston Fashion Week, now in its ninth year, had never crossed either woman’s radar. But out of around 200 entries, 20 semifinalists were chosen, and Orea and Johanna were among them. For the moment, they’re putting interior design on hold as they focus on the women’s clothing line they’ve named Point Line and Plane. Together with their friend Cara Griffin, who they’ve brought on board to do PR and marketing, as well as to be another pair of sewing hands, they’re working non-stop to produce the twelve looks that will comprise their Charleston Fashion Week collection. The name Point Line and Plane comes from Russian abstract painter Wassily Kandinsky, whose 1926 publication Point and Line to Plane outlined the artist’s theories on the geometry that makes up art. Fashion, Orea, the head designer and www.paprikasouthern.com
pattern drafter of Point Line and Plane, explains as she draws out a pattern, is highly mathematical. Pattern drafting is the basis of clothing construction. Orea shows us a tailored hoodie she is working on while we chat. She begins with a set of blocks—basic patterns, which are two-dimensional representations of the human body. By adding darts, which give clothing shape, she creates a unique pattern for each garment in the collection. Once a pattern is complete, fabric is cut, page 16
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part. I feel so happy being in here and problem-solving. [For example] if I want it to look baggy in this area, what do I do with this flat piece of paper?” If the pattern is perfect, the sewing follows. Orea explains that while the patterns take about eight hours to draft for each garment, they are able to sew three shirts and two pairs of pants in less time. The technical challenge of patterndrafting, which Orea calls both creative and analytical, invigorates her. “You made it. It came out of your head. It’s really rewarding…it’s creative energy.” n
Right to left: Cara Griffin, Orea Guthrie, Johanna Hickey
sewn together, and fitted on a model. From there, Orea is able to evaluate the fit of the garment, and make any necessary adjustments to the pattern before it is constructed in the final material. Looking at the stacks of patterns in Point Line and Plane’s Savannah studio, one is reminded of blueprints. And patterns can be likened to the architecture of fashion. Pattern drafting is a highly technical process, and one that Orea is learning as she goes. “It’s the part I like,” she says. “I love this page 17
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The Point Line and Plane collection seeks to expand the definition of femininity and set a new standard for how to dress as a woman. Though both Orea and Johanna consider themselves feminine, they do not see themselves as fitting into a traditional standard of femininity. “We are both strong women,” says Orea, and they are designing for customers who share the same attitudes. The collection will have an androgynous feel. Though the line targets women, they don’t want to be confined by traditional gender roles. “I would like it if men could wear it too,” says Orea. The aesthetic of the line will be clean with classic tailoring, but incorporate www.paprikasouthern.com
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This page, top: Sketches for the collection / Bottom: A stack of patterns Facing, top: Orea at work on a pattern / Bottom: Studio details, and an in-progress mock-up on dress form page 18 www.paprikasouthern.com
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textural detail. This is where Johanna, the head fabric designer, comes in. With a background in fine art fibers, Johanna’s role is to create the actual material that will be used to construct the garments. Using techniques such as hand-dyeing, handfelting, and hand-finishing, Johanna’s goal is that the fabrics will work in synthesis with the designs, allowing them to maintain the clean lines emphasized by Orea’s patterns.
at Goodwill. The fabric maintains its original patterning, adding unique texture wherever it is used. Johanna shows me a sample she made for a pair of pants that will be constructed by piecing together two of the coats using needle-felting techniques. The final garment will be then be hand-dyed, but the material will provide a unique and varied surface. n
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The collection falls into the category of high-end ready-to-wear, with a substantial amount of fine art influence. Johanna acknowledges sometimes fibers and fashion can come together in a more crafty way than is in line with the vision of Point Line and Plane. Their intent is to create wearable, timeless pieces, while incorporating the hand-made techniques that make individual pieces unique. “There’s a line between art and craft and fashion, and we’d like to walk it,” says Orea.
It is no accident that Johanna found the wool she needed by sourcing it through reused materials. The idea of sustainability is central to Point Line and Plane, and one that Orea, Johanna, and Cara are each deeply passionate about. In accordance with the principles of the slow fashion movement, they choose more sustainable practices wherever possible. The fabric they are having printed, for example, is being done by a company in North Carolina that uses a fabric reactive dyeprinting process that does not produce the excessive runoff that ends up in The material is an incredibly vital factor our waterways created by ink-printing in the finished product, and Johanna’s processes. choices, such as having their own fabric printed from abstract paintings, The industry of fast fashion is based on are intelligent and creative. Since the the idea of cheap, disposable garments collection is for winter, they wanted to use that are created to be worn a handful a lot of wool, but the wool they wanted of times and thrown away. The EPA was $90 per yard. With this price being estimates that 14.3 million tons of textile out of their budget, they were forced to waste was generated in the United States look for alternatives. Their solution was in 2012, accounting for almost 6% of to buy piles of old 100% wool jackets total municipal waste. www.paprikasouthern.com
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Top: Cara and Johanna in the studio Bottom: Material from the wool coats Point Line and Plane is up-cycling page 21
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“We would like to be the antithesis of that and create garments that are made to last, and are timeless in their style because they’re not trend-driven,” says Orea.
company unless it’s making some sort of change. The fashion industry is pretty diseased, and the only way it’s going to change is if there are people who are changing it, and I would like to be a part of that,” says Orea. Eventually, they would like to be ethical employers, leading the way for change in the industry. The designers of Point Line and Plane envision a world in which the only choices are ones that are sustainable.
Inexpensive, trendy pieces are among the worst offenders for planned obsolescence in the fast fashion industry. The slow fashion movement promotes using sustainable practices that do not have a negative impact on the environment, as well as encouraging n n n n responsible consumer choices. “In order to empower people to do it on their own and be more conscientious about what they buy, what As semifinalists at Charleston Fashion they purchase, knowing who they support, Week, Point Line and Plane will show there has to be an education shift,” says Cara. eight pieces on March 17, and if they win their category they will show their full “There’s no reason to have another fashion twelve-piece collection March 21. www.paprikasouthern.com
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Learn more about Point Line and Plane on their Facebook page
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Cher Spring I M A G E S B Y S IOBH AN E GAN STY LI NG B Y M AR Y M E L IS S A J OH N S ON
The elegance of vintage French style re-imagined for the girl who dreams of romantic lace, strolls down cobblestone lanes, and springtime in the South
Hair & Make-up Artist: Megan Mateo Model: Maribeth Nolte Location: Charleston, SC
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Top, Tres Carmen Boutique Skirt, Mosa Boutique Trench, Dandy Boutique page 29
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Top & Skirt, Out of Hand Necklace, JewelMint www.paprikasouthern.com
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Crop top, BCBG Generation atTres Carmen Boutique Pants, Out of Hand Clutch, Mosa Boutique www.paprikasouthern.com
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Dress, BCBG Generation atTres Carmen Boutique Coat & heart studs, Dandy Boutique www.paprikasouthern.com
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Dress & trench, Dandy Boutique www.paprikasouthern.com
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Special Thanks Dandy Boutique Mosa Boutique Out of Hand Tres Carmen Boutique
Ruffle shrug, Out of Hand www.paprikasouthern.com
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A Stitch in Time The Art and Assemblage of Page Turner
Artist Page Turner lives and works in Roanoke, Virginia, creating art from scraps of material, bird feathers, and vintage flea market finds. Her assemblage sculptures explore women’s traditions through material, technique, and content. With a museum exhibition now on view, Page graciously agreed to answer our questions about her work, her southern roots, and her artmaking process. Words by Bevin Valentine Jalbert All images courtesy of Page Turner; all artwork shots credited to Sean Cuddy
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Can you tell us about your background and how you became an artist? I have always been a maker. When I was born, my father was a goldsmith and ran his own jewelry store, and about ten years later he went back to custom carpentry and residential remodeling. I worked along his side for many years, even at a young age. My dad’s jewelry tools were open and available to me. This is where I fell in love with the delicate scale that I enjoy. I learned anything that anyone would teach me. I spent time with the sisters in our Mormon community and learned how to sew and mend, crochet, and other domestic traditions and skills. I ran the mountain woods and explored the abandoned homes, barns and outbuildings. Jumped across creeks and always seemed to find something interesting. Growing up, I took all the art classes offered and arranged to have my study hall in the art department. I took tons of classes at the page 43
recreation center in town from cooking to pottery. In college, I took as much art, humanities and anthropology courses as I could, with geology and biology classes peppered in. I let my curiosity guide my studies, rather than a traditional career tract. My husband, Zephren’s, encouragement helped me to find the confidence to share my work. Your aesthetic of assemblage and sculpture is one that is unique and very appealing. How would you describe it, and what path led you to this method of working? I have always been bewitched by what someone keeps, the everyday object that is held on to. Objects of interest seem to find me. So, I had filled our tiny apartment with my treasures. I really mean it… I was working mostly with paper and antique ephemera but was reluctant to “ruin” my treasures.
Zephren was instrumental in helping me to overcome my fear of messing up my treasured objects. Part of how we spend time together is hunting these treasures. We both enjoy flea markets, dumpster diving, antique stores, and spending time exploring outdoors – from rivers to mountains. (A cycle of making and hunting – all while spending time with my favorite person in the whole world.) I am drawn to objects and truly feel compelled to give them a second life, while preserving their heritage and history. The
Page in her studio www.paprikasouthern.com
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shirts for my grandfather from the feed sacks used at their farm – the scraps from the shirts; she used to stitch lovely quilts. Both necessities, made with design, and turned into fine art and objects of deep personal value. I had the privilege of learning many of these skills and traditions from the older generations. I feel responsible to continue these skills and to highlight them as consummate art forms. I’m curious about the visual language you use. You incorporate icons of femininity—aprons, dress forms, traditional boning used in corsets— along with references to Pinafore and Feathers #2 from A Stitch in Time Saves Nine birds and avian anatomy. Can you tell us a litfear of ruining the treasure You’ve mentioned being tle about that? is now replaced with the ex- inspired by the women citement of sending the cre- who were your ances- Coming of age during the ation back into the world. tors. What role do wom- third wave of feminism There is something human en’s traditions play in within a conservative Morand deeply emotional about your art? mon family and communi“stuff” and especially perty, I became obsessed with sonal objects and heirlooms. I am drawn to the traditions my gender identity and the I enjoy working with special of women, especially where images of femininity. I also objects. The sculptures that I the skills are refined into am captivated by the exmake are spiritually charged fine art. From a need grows amination of the tiny dead from their histories, I let this elegance and beauty. My birds that my ferocious cat energy come through. great grandmother made www.paprikasouthern.com
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“From a need grows elegance and beauty. My great grandmother made shirts for my grandfather from the feed sacks used at their farm – the scraps from the shirts; she used to stitch lovely quilts. Both necessities, made with design, and turned into fine art and objects of deep personal value.”
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Top, left: A photograph including Page’s grandmother and great-grandmother Top, right and bottom: Details from Page’s studio; Facing: Process sketch www.paprikasouthern.com
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delivers to my doorstep. Only when they are dead, do I get the opportunity to be so close. I find that birds illustrate much of the same elegance and delicacy of femininity. March is our fashion issue, so I’d like to ask if/how the history of fashion influences your work? My grandfather was a costume designer in Chicago during the 1950’s—fashion is in my blood. I devour historical fashion books. I love the jump down the rabbit hole; the research of historic patterns usually leads me to more understanding of the culture of the time period. The idea of making something beautiful and not just for function captivates me. The importance of adornment is deeply a human idea and reflects so much about our cultures. How does the idea of collecting and being a collector play into your work? page 47
I am a collector of objects, stories, traditions, bones, trinkets and sundries. I am especially attuned to objects that were owned by women. One thing I find in common with other collectors is the feeling of responsibility for the objects. The need to preserve and to pass them on to others who talk a little about that? understand their intrinsic or perceived value. I take The objects that I use in this responsibility to heart. my work all carry their own history and energies. Your work feels very I allow these stories to narrative and as if there continue. The dress forms is a history and my- are made from a German thology behind it. The handmade night dress c. piece Headmistress 1890’s, the bodice made Harpie, for example, is from a quilt piece c. 1920’s composed of garments from my family, the skirt is made of burlap and oth- made from a handkerchief, er home-spun materi- c. 1940’s and the petticoat als paired with a bird’s made from handmade doll wings and feet. Both the dress sleeves. Each sculpwords “headmistress” ture in my series, A Stitch and “harpie” are poten- In Time Saves Nine, is a totially loaded and imply tem representing a specific a narrative. Can you woman in my life that was www.paprikasouthern.com
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influential in shaping my female identity. Headmistress Harpie and the others that have wings and bird feet illustrate the way these women have preserved parts of their nature, even if those parts may not be socially expected or accepted. I find these women to be authentic and beautiful. How has living in the South influenced your work? My work is directly influenced by my southern heritage and traditions. The main influence comes from my mother’s family that has lived in South Carolina for generations. Their use of resources and self reliance passed on to my mother, who also instilled this with me, can be seen in my work. The treasures that I collect and use as art materials are mostly from southern homes and have been in possession by southerners. In the same way that writers write what they know, I make work from and about southern life and culture. www.paprikasouthern.com
Can you tell us a little about your process? How do you create a piece from start to finish? I work in two different processes. Methodical deconstruction of materials and reassembling them— i.e. the A Stitch in Time Saves Nine Series. Each of these sculptures are a totem to a specific woman in my life that I wrote about in my journals. So, when I was making her totem, I was revisiting those passages in my journal – and recalling my relationship. Sort of like the monk’s prayer bowls, I embed the sculptures with my memories and energies. These sculptures I generally sketch out and then create with a specific end in mind. The other processes is freer and loose—a response to the materials, with no outcome in mind. I often work on three or more of the methodical construction at a time, and take breaks by playing and re-
sponding to other objects in my studio. I have a very visual memory of my stuff, I know where everything has come from, I retain the stories and energy. I typically nest inside a mess, and lay out objects in small boxes—that helps to organize my madness, limiting my color palette and helps with the editing. Honestly, I feel a bit flaky for saying this, but I feel more like a medium, the work flows through me. I love the presentation of your pieces under cloche glass. How did you decide upon this style of presentation, and does it have any significance? Thank you so much! I am drawn to Victorian taxidermy and love how they preserve beautiful, delicate birds or morning hairwork. I love the way the glass domes identify the objects inside as special and worth preserving. I have a large collection of cloche glass domes and all the antique pickers and page 48
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Examples of Page’s work in the working process she describes as a “response to materials” Left: Merry Jane; right: Stand Still
vendors know me, and keep an eye out for me. My parents had a few anniversary clocks and I remember being very young and watching them remove the glass to adjust the clock. There was a reverence that takes over when you remove the glass and must be done with a steady hand. I love to remove the glass at openings, allowing for a more page 49
intimate interaction with the work. When you’re not working in the studio, how else do you spend your time? When we are not in the studio, we are working in our gardens, building our home. We enjoy our mountain gatherings with our friends and
family and other artists – fires in the firepit and conversations about the universe, science and human nature. Our other sanctuary is at Zephren’s family land in Galax, Virginia on the New River. We camp in the family cabin built over a hundred years ago. The foundation and chimney are made from the river stones, laid by his family’s www.paprikasouthern.com
Paprika Southern Page’s work will be on exhibition at the Eleanor D. Wilson Museum at Hollins University in Roanoke, VA through April 25. Click here to visit her Facebook page.
Front and back views of the piece Headmistress Harpie from the series A Stitch in Time Saves Nine
hands. A few years ago we helped reshingle the cabin’s roof, first we had to remove the layers to get to the wooden structure. I was on one side of the roof, and Zephren on the other—at the same time we both realize that the gaps in the wood are stuffed with quilt scraps. We both were cramming these ancient scraps into our pockets for me to use in my work. You have a solo show www.paprikasouthern.com
coming up at the Eleanor D. Wilson Museum in Roanoke, VA. What can viewers expect to see there? The series, Power and Restraint: A Feminist Perspective on Mormon Sisterhood contains eight hand-stitched figures adorned in hand-stitched gowns—designs inspired by historic patterns and photographs from the 1890s (a significant timeperiod
of the beginnings of the Mormon faith). The Sisters are wearing beautiful hats—falcon hoods with bird beaks. These sculptures under huge glass domes atop a tableau of two sisters depicting rather intimate emotional moments specific to the Mormon culture—inside beehive boxes. The beehive is a Mormon symbol—the hive and honey bees form our communal coat of arms…It is a significant page 50
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representation of industry, harmony, order and frugality of the people, and of the sweet results of their toil, union and intelligent cooperation. It links the Mormon community across time while symbolizing the Mormon pioneer past. I explore the divide between righteousness within the faith and women’s personal power; with deep reverence, I pay homage to the original pioneer women of the Mormon Church, as well as to my contemporary sisterhood. I am very excited about this exhibit. It is the first time I have pointedly and directly made work about my Mormon heritage. I do not practice the faith; however I do hold my heritage very dear to my heart. I am obsessed with the culture and the mythology within it. I have an insider/outsider perspective. What’s next for you? I am booking exhibitions page 51
for both myself and Zephren. We will do our first joint exhibit in Washington, D.C. next year. I will be leading a handful of assemblage sculpture workshops in Virginia, Vermont, and D.C. These are so fun, I bring all the materials from my studio treasures—you get to play with some of the most amazing artists! The next thing on my plate is finishing the editing of the A Stitch In Time Saves Nine exhibit catalogue, where you will be able to see detailed photographs of the work and read bits of prose from my journals. I continue to be inspired by my Mormon and my southern roots and have some great things on my workbench. We like to describe our readers as sweet or spicy—which are you? I love this question! I’d have to say that I am sweet with a spicy lingering taste. My work at first read is sweet and nostalgic, upon closer examination; you can see bits of spicy truth.
Top to bottom: Spirit Howls, Wildness Endures 1 & 2, from Remnants series, Ethereal A-Line from A Stitch in Time Saves Nine www.paprikasouthern.com
Paprika Southern
Celtic Wire and Bead Bracelet DIY
craft by siobhan egan images by bevin valentine jalbert www.paprikasouthern.com
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Issue 20 / March 2015
We love this Celtic-inspired wire-wrapping DIY for St. Patrick’s Day! We chose a green and orange color scheme to show our Irish pride, but this project is easily adapted to any season or holiday. Try our Celtic wire and bead bracelet DIY for a fun and easy introduction to wire-wrapping and beading-you’ll be sure to get hooked!
materials
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-Bead Mat -18-22 gauge wire (you can use craft wire, silver plate, or sterling silver) -assorted beads in colors of your choice -side cutter wire cutter -round nose pliers www.paprikasouthern.com
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step one Choose your beads
step two Double the wire and measure a length of approx. 2 feet (depending on your wrist size).
step three Make a loop at one end and twist a few times.
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Issue 20 / March 2015
step four Wrap double wire around your wrist to make sure the length is not too long.
step five Twist other end together to create a long twisted piece. Twist extra wire back down to the base of the twist and continue wrapping wire around the main wire to reinforce the structure.
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step six Wrap extra wire around the base of the loop. Leaving about ½ inch. Using round nose pliers twist ½ inch into a swirl shape. Repeat on other side.
step seven Choose a centerpiece bead if desired and wrap wire to secure it in place.
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Issue 20 / March 2015
step eight Continue to wrap and place beads around the main structure. As you run out of wire be sure to leave about ½ inch to turn into swirl shape.
step nine Use round nose pliers to create kinks along the wire in various places. This can be used to separate beads as well as preventing beads from moving around too much.
step ten Continue to weave more wire through the bracelet using pliers to create kinks and swirls when you come to the end of the wire to fill in empty spaces. page 57
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step eleven Wrap bracelet around the wrist and bend the wrapped wire end into a hook. This will serve as the clasp to the loop at the other end. Enjoy your bracelet!
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Issue 20 / March 2015
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See you in April!