Mary Pal

Ottawa, Ontario, Canada

Some seem wistful and others are full of joy, yet each of Mary Pal’s portraits brims with life. The effect is similar to crosshatched drawings, but instead is produced using layers of cheesecloth to create portraits of amazing depth and emotion. Often portraying people who are overlooked and ignored–the elderly and the homeless–Pal has created a portrait gallery of faces that exude personality and wisdom.

Finding the right photograph

What is it that makes a face so appealing to me that I want to sculpt it in cheesecloth? It can be many things: the expression might evoke an emotional response in me, or the lines on a face might speak volumes about what kind of life experiences that person has had, or the drama of the lighting in a photo might be enough. But in each instance, I have an immediate connection to the face and then I feel compelled to try my hand at translating that connection with textiles.

My reference photos come from a variety of sources. Of course the internet is a prime treasure trove, but I’ve stumbled across photos in newspapers that catch my eye, and when I can persuade people with interesting facial features to pose for me, I take my own photos. I am currently working on a series of musician portraits and, from time to time, I do online searches that sometimes lead me to a photo that grabs me the moment I see it. Then the hunt begins to find the photographer and seek permission to use that artwork as reference for my own. I have met the most wonderful fellow artists in this way and maintain a correspondence with them afterwards, notifying them when “our” piece is being exhibited or has won an award.

Importance of Studio Art Quilt Associates

The greatest impact on my art career undoubtedly was joining SAQA. While still a new member, I decided to go to a conference. That year, 2007, it was held at the Dairy Barn Arts Center in Ohio, at the opening of Quilt National. Not only was I able to experience a higher caliber of art quilt than I had ever seen before, but I was able to meet other attendees at the conference. I couldn’t believe how warm and welcoming these very talented artists were to a complete newbie, and I made wonderful friends.

I spent that year learning through SAQA important aspects of becoming more professional—marketing and finding my voice. The next year I saw there was to be a fundraising

Trusting

24 x 20 inches, 2014 Based on a photo by Csaba Zoller, used with permission

Precious Time

60 x 36 inches, 2014 Based on a photo from the Vale Mining Corporation, used with permission

auction of one-foot square quilts, so I made a portrait from a new cheesecloth technique I was developing. It sold within seconds of the auction opening, which was an exciting moment for me. And when I went to the next conference, I met Martha Sielman, SAQA’s executive director, who looked up at me when I said my name, and said, “Oh, yes! You made the cheesecloth portrait.” I couldn’t believe she’d remembered one out of the hundreds they received. The more I delved into SAQA’s resources, the more I learned, and eventually it made sense that I would become a regional representative. At each conference, I made more wonderful friends, and throughout the years, I continued to grow and develop artistically and professionally. Eventually, I was invited to sit on the SAQA Board of Directors, and that was an opportunity for me to give back to SAQA. I devoted a lot of time to working with my fellow board members to help make the organization stronger. I didn’t make as much art in that period but kept honing my technique and teaching workshops.

Today when I give a lecture on my artwork, SAQA features prominently in my presentation. From SAQA I learned all the mechanics of marketing: how to photograph my work properly, how to organize a solo exhibition, and how to pack my work for shipping, and how to design business cards, rack cards, and a website to promote my work. I’ve been able to take advantage of many opportunities to apply to exciting calls for entry and have my work travel internationally. And I know that if there’s something I don’t know, the answer is on the SAQA website or can be answered by the members of the online discussion group. SAQA is a phenomenal resource.

A new challenge

Each time I make a piece, I like to challenge myself. Sometimes the challenge lies in the technical difficulty of using the medium of cheesecloth fibers to depict a particular aspect of a piece: Can I successfully distinguish between a headscarf and hair? Can I depict a knitted toque hat? Can I render a readily recognizable celebrity? For Precious Time, the reference photo I used was from 1907. The finished piece was 60 inches tall and was the first

right: Equus 24 x 18 inches, 2013 Based on a photo by Margaret Bednar, used with permission

below right: Madeleine 18 x 24 inches, 2013 Based on a photo from The Globe and Mail, used with permission

work I made of full figures, not just faces. The cheesecloth could be used to indicate light and shadow, but not nuances of facial expressions. The physical setting of a ram- shackle exterior of a mine shaft contrib- uted to what I was attempting to portray in this work: the hardship of mining. I didn’t want the background to compete with the figures, so I used diluted white paint on black canvas to subtly sketch in the timbers and rubble around them. Coinci- dentally, this process allowed me to leave the hat brims completely black, solving the problem of how to show the outline of the miners’ hats.

New perspectives

I would like viewers to realize that what I do is flexible enough to be used by people of all levels of skill and ability and is, in fact, a lot of fun. I particularly enjoy teach- ing my technique to students so they can incorporate what I do into their own body of work, putting their own spin on it. The design stage is exciting because you start with a blank slate and everything is pos- sible. Complete freedom! Beginning with an idea, you consider ways to make your concept tangible. For me, it’s like a puzzle, considering and reconsidering all the elements I might place within the compo- sition, honing the design in a sketchbook or on the computer until it satisfies me.

I hope viewers who see my art take away a renewed perspective, and maybe they reconsider something they thought they knew, that I’ve helped them to see it in a fresh light. I hope seeing my work gives them a sense of the passion I’m attempting to translate into fiber.