earth stories
ISBN: 978-0-9896896-1-8 Cover artwork by Marion Coleman Catalog design by Deidre Adams Contents copyright Š2014 Studio Art Quilt Associates, Inc. Images copyright the individual artists. Images may not be reproduced or used in any way without written permission. All rights reserved.
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Juror’s essay Jurying an exhibit is always an honor
I looked for work that would emotionally draw
and a challenge, and I was pleased at the
me in … pieces with the distinctive voice of
opportunity to serve as juror for Earth Stories.
the artist coming through which would be
Earth stories celebrate stories of people
memorable and move my spirit. As I viewed
or projects that enhance the planet, make
the finished artworks on my computer
a significant difference in restoring and/
screen, each piece was an engrossing visual
or protecting the environment, increase
testimony of powerful multilayered imagery
sustainability and otherwise improve the
about the condition of the world we live in. An
earth we live in.
individual or organization doing something
The selection process was one I never experienced before. I was to select 24 artists to exhibit based on their portfolio and theme proposal. I decided most importantly to select artists with compelling themes and those with strong portfolios with great use of color, design and technical skill. As a collector of
to save the planet inspired each of the works. One of the hallmarks of great artwork is its visual strength and technical mastery, which is evident in all selected works. Each of the chosen quilts is visually strong, has a high degree of technical skill and an intellectually interesting storyline.
quilts with an emphasis on social or political
Themes were executed in a variety of styles
statements, I looked forward with great
which included abstract, painterly, figurative
interest to see how each artist would interpret
and graphic. The art in the exhibition spans
her proposed topic. We received entries from
symbolism, geo-political metaphor, deeply
around the United States, Europe and the
personal experience, hope, irony, and that
Middle East. The call for entries brought in a
restless aspiration that always seems to
variety of outstanding portfolios which ran the
have one more horizon to cross. Each artist
gamut of what contemporary fiber artists are
is skilled in the use of color and composition.
now producing. I tried to reflect this diversity
The pieces used a variety of techniques such
while working within the exhibition theme.
as painting, dyeing, drawing, patchwork, collage, appliqué, photo transfer, sketching with stitchery and more.
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The power of the arts to promote certain
outlined and airbrushed painted images
causes lies in their emotive nature. The use
with tiny writing is always impressive. Paula
of art to articulate alternative views adds
Korvarik cleverly uses machine stitching in her
an important dimension to understanding
piece, Stream of Consequences, to take us on a
political, economical and social forces which
winding journey as the Wolf River meanders
harm our planet. This element is critical in
through city and farmland, affecting all living
movements and acts of social change. In
things in its path. It’s a Shell of a Problem
these trying times, deliberate decisions to
by Leni Levenson Wiener uses raw-edge
make a difference in restoring and protecting
machine appliqué to demonstrate attempts at
the environment are essential for our human
reversing a mishap of nature by trying to grow
survival. If we are to seriously change our
the turtle and tortoise population. Cynthia
planet, we must begin by changing ourselves.
St. Charles’ Alternative — vs. — Fossil Fuels
Each of the artists in Earth Stories has raised awareness of pertinent issues through aesthetically pleasing and compelling imagery. The artwork in Earth Stories offers possibilities to visualize and explore issues which are important to saving the planet we live on.
illustrates the debate around fuel choices. This labor-intensive block- and screen-printed work displays comments, pro and con, about the use of each type of energy source and its effect on the environment. The background fabric is blue, suggesting clean air.
I hope the exhibit will encourage dialogue,
Creating a sense of place in a striking
raise consciousness, and empower individuals
landscape, Noriko Endo’s Woodland speaks
and communities. The artworks challenge us
to the importance of wooded areas, which
to see the world we live in differently, with
are critical to plant, animal and migratory
respect for the land and all that live within.
bird life. In her piece, Habitats: Species, Alicia
Of the 24 entries selected for exhibition, most were narrative. Master storyteller and diarist Susan Shie’s quilt, Muddy Fork Farm: 3
Merrett creates a map representing reserved lands, which are habitat to many endangered species.
of Wooden Spoons in the Kitchen Tarot, records
Nancy G. Cook and Patty Hawkins chose
in painstaking personal detail the impact
the topic of the intentional destruction of
of a visit to a farm that employs organic
forests by burning in order to encourage new
farming and a back-to-nature lifestyle. Her
growth and allow energy from the sun to
unmistakable style of combining boldly
nourish plants. Hawkins’ Enigma of the Forest
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illustrates the dichotomy of burn and growth
captivating work bravely addresses one of
with a diptych made with screen-printed
the most important issues on our planet —
and shibori-dyed fabrics. Nancy G. Cook’s
population control. Earth Mother and family
Ground Fire Brings Light and Life illustrates four
stand firmly rooted and intertwined with the
specimens dependent on periodic fires.
earth. The piece represents all Earth Stories is
Brooke Atherton’s Palimpsest, inspired by
about.
floating wetlands made from recycled plastic,
I would like to thank curator Leni Wiener for
alludes to topographic changes by the clever
being so helpful during the process, and to
use of a recycled Grandmother’s Flower
SAQA for asking me to be the juror for this
Garden quilt. Stunningly simple, fresh, on
exhibition. I would also like to thank the artists
topic and to the point, yet innovative, Mirjam
who have given viewers something to think
Pet-Jacobs’ Light Towers pays homage to the
about with their exceptional and thought-
energy-saving lightbulb. A painterly tribute to
provoking artwork.
efforts to save the crane is exquisitely detailed and stitched in Mary Pal’s Hope is the Thing with Feathers. Annie Helmericks-Louder’s Tender Bellys was inspired by Rachel Carson’s book, Silent Spring. Her collage piece presents an intimate view of nature while using a dazzling array of fabrics and textures. Marilyn M. Prucka’s Upstream Downstream: River Raisin Dam Reclamation Project uses crochet work and other mixed media to give the work richness while creating a bit of mystery. Her diptych shows an expansive imagination and a rich cohesiveness in its contrast. Kathy Nida’s two artworks, Wise Choice and Planting Choice, are a tour de force. The intuitive genius of Nida’s piece is quite arresting in its commentary on women and presents a vital and poignant message. Her
— Dr. Carolyn L. Mazloomi Dr. Carolyn L. Mazloomi is a quilt historian, writer and independent curator. Widely exhibited in the United States and internationally, her quilts can be found in the permanent collections of the Smithsonian American Museum of Art (Washington, D. C.), Mint Museum (Charlotte, NC), American Museum of Art and Design (New York City), and the Wadsworth Atheneum Museum (Hartford, CT). She was awarded the first Ohio Heritage Fellowship Award and the Governor’s Award for Excellence in the Arts. Mazloomi has been involved in the economic development of women through the arts for over twenty years. She has appeared on CBS Morning Show, The Today Show, CNN, HGTV, and has been the subject of several film documentaries. Dr. Mazloomi was one of six artists commissioned to create artwork for the National Underground Railroad Freedom Center.
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Curator’s essay Art is more than just pretty pictures.
on post-disaster development, design and
Throughout history, art has served as
reconstruction of seismic-resistant housing
commentary on the social, economic and
as seen in Torn Earth by Carol Larson. Valya
political climate in which it is created. Art
explores the work being done by The National
can educate and enlighten; art can make a
Geographic Genographic Project studying
statement or even serve as a call to action.
human migration in He Knew That She Knew
Artists express what is important to them
That I Know. Regina Benson’s look at an
through their work — their life experiences,
Alternative Future draws attention to the work
their morality, their religion, their personal
of the National Renewable Energy Laboratory.
beliefs and their emotions. Art reflects our world and our lives and compels us to think, to learn, to adjust our viewpoints, and sometimes to act. Earth Stories is an exhibit that asks all that of you, the viewer.
Others found their inspiration in smaller projects whose work was closer to home like the revitalization of buildings in Leipzig as depicted in Il y a des idées pour un peu de soleil by Britta Ankenbauer. Marion Coleman’s
Each artist chose a project they believed
Tender Gardens celebrates the Tenderloin
in, something to which they felt connected,
Neighborhood Community Garden in San
simply something that will improve our planet
Francisco. Thinking about the effect on
that speaks not just to who they are as artists,
landfills of every disposable coffee cup moved
but to who they are as human beings.
Lynn Krawczyk to create Latte Landfill. Simply
As the curator of this show, I was surprised and pleased to see the evolution of a wide range and variety of projects that went far
considering the consumerism that leads to an accumulation of “stuff” prompted the creation of Kathy York’s Crowded House.
beyond what I had expected. Some artists
Some found their inspiration in work being
were inspired by large scale and far-reaching
done to change the way we humans use the
projects like Architecture for Humanity’s focus
earth’s resources, like Cooking with the Sun by
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Jennifer Day, preserving the healing minerals
It is my hope that you will enjoy this collection
of the Dead Sea in Maya Chiamovich’s A
of artworks, but also take something away
Source Of Life In The Dead Sea, and teaching
on a deeper level—that you will feel you have
sustainable farming techniques to drought-
been educated, enlightened and compelled
stricken areas of Africa in African Farmers by
to become involved, if not with one of these
Jean Herman.
projects, then with some other positive Earth
Earth Stories is a collection of 24 extraordinary artworks. So first, examine and appreciate the talent and vision of these artists, drink in the beauty and impact of each of these powerful pieces. Once you have enjoyed the art, look beyond their composition and color and consider the message. Look at the artist’s expression of concern and hope and take a few moments to learn more about the person or project that inspired each artwork. In addition to their large installations, each artist also made a smaller piece (shown as an insert on each left-hand page) and all twenty-four will hang together as an overview, not just of the pieces in this show, but of the many projects in the world and those who have taken it upon themselves to selflessly work towards the common good.
Story. — Leni Levenson Wiener Curator, Earth Stories SAQA Exhibition Committee Chair Leni Levenson Wiener is an art quilter and instructor living just outside NYC. She has authored four books and gives workshops and lectures on art quilting, as well as coaching emerging artists. Her work is in various exhibitions across the U.S .and abroad. Leni is SAQA’s Exhibition Committee Chair and serves on the Board of Directors.
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Britta Ankenbauer Leipzig, Germany Inspiration: Haushalten e.V. — Guardian houses at Leipzig www.haushalten.org/de/english_summary.asp I often find my inspiration in human subjects, social themes and the urban environment. The changes in our town over the last 20 years were encouraged by an Association who thought outside the box and were concerned with recycling and sustainability. Their first aim was to support and preserve the beauty of the houses and the town. The effect it had was a social one: bringing light into dark and empty windows and making suburban areas friendlier. I searched local flea markets for photos of women who probably lived in these houses and for materials from the 1900s like old laces and motifs for wallpapers. These made up the “ground” by employing surface design techniques like silk screening, painting and printing. I added pieces of the original plastic poster banners of the association that brought light into the dark spaces of the work. The 72” square was cut into a window shape. Hand-dyed cotton, old flea market finds like photos, printing tools, laces and papers, teabags, organza, digital photos, poster scraps from the “Wächterhäuser,” cotton and rayon thread Dyed, printed, silk screened, rubbing and other surface design techniques, photo transfer, pieced, appliquéd, hand and machine stitched and quilted
photo by Ronald Abbott
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Il y a des idĂŠes pour un peu de soleil 72 x 72 inches
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Brooke Atherton Billings, Montana, USA Inspiration: Floating Island International www.floatingislandinternational.com Floating Island International is located in Shepherd, Montana. They design and manufacture artificial islands that are moveable or can be tethered in place. Population growth and industrialization comes at a cost to our wetlands and waterways. Using a matrix formed from recycled plastic drinking bottles and native plants, FII creates floating treatment wetlands. They use nature and technology to rebalance water ecosystems that humans have upset. A palimpsest is something that has changed over time and shows evidence of the passage of time, such as a parchment that has been scraped away then reused. In geology, because the Earth’s climate has changed profoundly during its history, many landscapes are palimpsests. Here, an object, aptly named Grandmother’s Flower Garden, has outlived its original purpose and been repurposed into a new story. Cotton, paper, silk, found objects including vintage Grandmother’s Flower Garden quilt fragments, graphite and wax pastels, matte medium Dyed, silk screened, hand colored, fused, hand and machine stitched
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Palimpsest 72 x 72 inches
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Regina V. Benson Golden, Colorado, USA Inspiration: The National Renewable Energy Laboratory (NREL) www.nrel.gov Our planet needs help. It is threatened with global warming, clouds of everpresent pollution, changing weather patterns that bring wildfires, floods and typhoons, and islands of waste strangling our cities and floating ominously in our oceans. The National Renewable Energy Laboratory (NREL) in Golden, Colorado, provides that help by studying and developing alternative energy technologies that promote environmental stewardship, economic viability, and public responsibility. Its more than 1600 scientists and engineers design systems that convert wind and sunlight into useful forms of energy and develop energy-efficient building materials, batteries and chemical processes that turn agricultural waste into petroleum substitutes. Their inventions and developments help to provide our world the option of a future with cleaner water, breathable air and affordable energy. I envision the mission of NREL as giving my grandchildren the choice of living on a thriving planet rather than one like the billions of lifeless barren orbs that fill our galaxy. Commercial and artist-dyed, discharged, rusted, painted and burned cotton, silk and polyester fabrics, acrylic paints, polyester, rayon and cotton threads Dyed, discharged, painted, rusted, burned, direct and reverse appliquĂŠd, layered, stitched
photo by: John Bonath
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Alternative Future 72 x 72 inches
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Maya Chaimovich Ramat Gan, Israel Inspiration: The Dead Sea Harvest www.onlinedeadsea.com/tag/salt-harvesting People from all over the world come to the Dead Sea seeking cures for a variety of diseases, in particular skin and rheumatic problems. Last year the Israeli government approved an agreement with Israel Chemicals to invest more than one billion dollars in a project called “The Dead Sea Harvest.� The intent is to dig at the bottom of the sea and extract salt that has sunk to the bottom. This project will allow people to continue to come to the Dead Sea to be cured. My husband and I spend one month every year at the Dead Sea so I understand and appreciate the importance of this project. Recycled fabrics: cotton, silk, lace, synthetic, polyester; metallic and multicolored threads Fused, free-motion machine quilted
photo by Moti Chaimovich
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A Source Of Life In The Dead Sea 61 x 70 inches
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Marion Coleman Castro Valley, California, USA Inspiration: Tenderloin Neighborhood Development, San Francisco www.tndc.org Tender Gardens showcases a community garden located near the Civic Center of San Francisco. The Tenderloin People’s Garden is one of many services provided by Tenderloin Neighborhood Development. This community garden was developed because the Tenderloin neighborhood does not have a full service grocery store, which makes access to fresh, affordable food a struggle for the many poor and low-income residents of the community. The garden is a source of fresh produce and encourages physical activity and community for residents who volunteer there. During harvest all community members are welcome to fresh vegetables. In addition to being a place for growing fresh vegetables, the flower garden provides a place for visitors to sit and rest. Children from the neighborhood child care center frequently visit. As a gardener, I am interested in the growing number of urban gardens and social service agencies that are addressing hunger, malnutrition, obesity and other health issues facing our communities. I was warmly welcomed by the garden coordinator, and I hope this quilt positively presents their mission of food justice and a more equitable food system. Cotton, thread Fiber collage, raw edge appliquÊd, reverse appliquÊd, photo transfers, thread painted, free-motion stitched
photo by Custom Photographic Services
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Tender Gardens 72 x 72 inches
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Nancy G. Cook Charlotte, North Carolina, USA Inspiration: The Nature Conservancy — www.nature.org The Nature Conservancy is a charitable environmental organization in the United States. Its mission is to “conserve the lands and waters on which all life depends.� Because of their science-based approach that fosters cooperation with local constituencies to solve essential environmental issues, I have long been a legacy member. After years of attempting to suppress all woodland fires, environmentalists learned that some ecosystems depend on periodic fire to clear away the dense fuel that causes dangerous crown fires and the brush that smothers seedlings and herbaceous plants. Periodic ground fires bring sunlight for young seedlings and therefore more life, as well as reduce dangerous fuel buildup. To improve environments, The Nature Conservancy has a program bringing controlled fire back to the longleaf pine region. In Ground Fire Brings Light and Life, a variety of specimens suggests the richness of life that controlled fire supports. These specimens include: Venus Flytraps, Yellow Fringed Orchid, Longleaf Pine and the Red Cockaded Woodpecker, all dependent on these periodic fires. Purchased hand-dyed and commercially printed cotton; cotton, rayon, polyester and silk threads; acrylic inks Design inked onto fabric using original hand-cut stencils; hand-guided, straight-stitched machine quilted; hand stitched
photo by Deidre Adams
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Ground Fire Brings Light and Life 72 x 72 inches
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Jennifer Day Santa Fe, New Mexico, USA Inspiration: www.jewishworldwatch.org, www.she-inc.org, www.patriciamcardle.com Solar cooking is the simplest, safest, most convenient way to cook food without consuming fuels. For hundreds of millions of people around the world who cook over fires fueled by wood or dung, who walk for miles to collect wood or spend much of their meager incomes on fuel, solar cooking is more than a choice — it is a blessing. With good sunlight, solar cookers can be used to cook food or pasteurize water during emergencies when other fuels and power sources may not be available. Solar cooking provides nutrition without smoke, which can irritate lungs and eyes, and eliminates the danger of fire to children, buildings and gardens. Cooking with the sun has changed millions of lives and made the world a safer and better place. Belgian Linen, 18 oz. canvas, 264 colors of thread Photographs printed on fabric, thread painted
photo by High Desert Arts New Mexico
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Cooking With the Sun 72 x 72 inches
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Noriko Endo Setagaya-ku, Tokyo, Japan Inspiration: Seiseisha photographic series ”Fukurou no Mori (Owls in Woodland)” by Masahiro Yokota For several years, my quilts have reflected my involvement with various landscapes. I make quilts because of my love of woodlands. I am curious about the environment. Migratory birds collect materials for their nests and feed their babies. Squirrels and rabbits cannot live without the trees. Owls live on the ground and in the tree trunks. The owls are active at night, but during the nesting season, they are also active in the daytime. I wanted to show the real life of owls’ ecology. My work expresses their natural life in a portrait of light and shadow. Hand-dyed cotton, tulle, paint Small pieces covered with tulle, machine quilted, painted
photo by Yuji Nomura
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Woodland 69 x 70 inches
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Patty Hawkins Estes Park, Colorado, USA Inspiration: Hotshot crews and fire management teams in Rocky Mountain National Park www.nps.gov/romo/parkmgmt/hotshot-history.htm Hotshot crews and fire management teams were the impetus for this piece. They are the guardians of the forest: proactive in monitoring the forest for symptoms for fire and managing the thinning of beetle-killed trees. A forest’s longevity needs fire as a component of a balanced ecosystem. Rejuvenation relies on fire to rid the forest of beetle-killed trees. Burn detritus 20 feet deep has been found in an 800-year-old forested area in Rocky Mountain National Park in Colorado. Fires thin the forest, nurturing new aspen tree shoots the following spring. We should stop wasting forest resources through our habits like one-time use of paper cups and paper plates when logical alternatives are at hand. Rocky Mountain National Park suffered two severe fires in 2012, several miles from Estes Park town limits and our home, awakening my awareness to this important balance of fire and growth. Cottons, silk voile Direct application construction; hand dyemarked deconstruct screen printed; discharged with potato dextrin; shibori pole dyed, freeform machine-quilted
photo by Sanville Photographic Services
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Enigma Of Forest Fires 72 x 72 inches (diptych)
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Annie Helmericks-Louder Warrensburg, Missouri, USA Inspiration: Rachel Carson I read Rachel Carson’s book Silent Spring when I was in junior high school 50 years ago. Although I was very young, her message that all life is linked together and no species is extraneous would direct me throughout my whole life. Ms. Carson died in 1964, but her message is still pertinent today. The accelerating loss of species and habitat now threatens the survival of our own species. In making this work, I wanted to honor Rachel Carson and make her ideals audible today. This work’s title, Tender Bellys, refers to the soft undersides or tender places that all living things have. It is where they most vulnerable and where they can be fatally damaged. No life is extraneous. The smallest plant and insect and the grand mammal are all linked together; thus, the careless loss and silencing of even one species affects the greater circle of all life. Sadly, humans, with their assumptions and behavior of manifest destiny, have become the deadliest species on our planet. The questions now: How can we change our behavior? When will we realize that everything alive just wants to live? Manipulated commercial and hand-dyed fabrics Collaged and stitched
photo by Gregory Case
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Earth Stories: Tender Bellys 72 X 70 inches
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Jean Herman Denver, Colorado, USA Inspiration: Rotary sustainable food for Africa — www.rotary.org Rotary sustainable food for Africa states its mission as, “We have decided to move from misery to Canaan” — the Old Testament land of milk and honey, a place of abundance. And thus begins a modern-day exodus for these African farmers, as they move from lives of chronic hunger and deep poverty to a future where they grow enough food to feed their families — and reap a surplus that allows them to pay school tuition for their children. Ancient grain seeds were found and developed by University of California, Davis and Rotary International, allowing for sustainable small farms using less water and old-fashioned farming tools. This shift to a new philosophy champions agricultural development and increased yields among the world’s vast legion of long-neglected small-hold farmers. Hand-dyed and hand-painted cotton and silk, recycled clothing, commercial cotton and silk fabric, threads, textile paint, oil pastels, gel medium Drawn, collaged, hand-painted, machine-stitched
Photo by Wes Magyar
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African Farmers 60 x 72 inches
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Paula Kovarik Memphis, Tennessee, USA Inspiration: Wolf River Conservancy — wolfriver.org It comes from the country, courses through the suburbs, and wraps around the city of Memphis. The Wolf River, a small spring-fed river of 90 miles, is one of the great arterial systems of the Mississippi River and all the life that it nurtures. As it flows, it filters, it floods, it captures and distributes. It is a filament that takes everything that flows downhill and sends it forward. It is the meandering collector of last resort for runoff, sprawl, industry and agriculture. Efforts to control it, channel it, or deny its value nearly led to its ruin—until it gained an advocate. Since 1985, The Wolf River Conservancy has protected and defended the river in the face of development and abuse. The group has recast the Wolf as a community treasure that physically weaves the region together. They know full well its vital function and spectacular potential. They understand it is a pattern that connects. Cotton fabric, cotton thread Free-motion quilted
photo by Allen Mims
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Stream of Consequences 71 x 71 inches
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Lynn Krawczyk Plymouth, Michigan, USA Inspiration: My coffee addiction and the statistic that 40% of the waste in North American landfills is paper products — and most of that is disposable coffee cups. In the grand scheme of environmental issues, disposable coffee cups seem pretty insignificant. It’s just a cup, right? Take a closer look at landfills with all those cups stacked on top of each other, unable to rot because of the waterproof lining, and you might begin to see it differently. It was important to me to make a piece about something where I could personally make a change. As coffee is a part of my daily life and I frequent coffee shops, I’m clearly contributing to the massive amount of waste generated by a seemingly harmless paper cup. I asked other artists to take the challenge to use only reusable cups for a month to document how much waste would avoid going into a landfill. This ongoing effort demonstrates how easy it is to alter our personal behavior for the benefit of Mother Earth. Cotton fabric, felt Monoprinted, Thermofax screen printed, painted, flood printed, stamped, machine stitched
photo by Eric Law
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Latte Landfill 72 x 72 inches
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Carol Larson Petaluma, CA, USA Inspiration: Architecture for Humanity architectureforhumanity.org Torn Earth celebrates the work of Architecture for Humanity, a non-profit firm dedicated to building a more sustainable future through the power of professional design. The organization’s projects focus on post-disaster development, design and reconstruction of seismicresistant housing. The right panel depicts Earth’s crustal instabilities. When Earth’s inertia is shaken loose and set into motion, we experience a release of energy so great that entire land masses are torn off their roots. Tectonic plates slide under overlying plates, transforming the shape of continents and altering the viability of entire communities and the citizens who are trying to eke out an existence on a planet constantly in flux. The left panel conveys the destructive energy released during an earthquake and the vulnerability of our buildings and structures when the earth moves. The panels are offset to create jagged edges alluding to shifting and upheaval in the planet that results in collapsed buildings and loss of life. Vintage linens, African batik, cotton, silk organza, taffeta, rayon, Procion MX dye, textile paint Dye-painted, screen-printed, rusted, fused, machine pieced, free-motion stitched
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Torn Earth 66 x 72 inches
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Alicia Merrett Wells, Somerset, United Kingdom Inspiration: Shapwick Heath National Nature Reserve, The Avalon Marshes, Somerset, United Kingdom www.naturalengland.org.uk/ourwork/conservation/designations/nnr/1006131.aspx In this nature reserve, old peat bogs have been converted into suitable habitats for endangered species — rare butterflies, bees, spiders, moths, dragonflies, aquatic invertebrates, bats, birds, plants, flowers, and mammals small and large. The Reserve manager, Simon Clarke, helped by the Education Officer, Simon Beard, and many volunteers — of which my daughter is one — encourage species diversity, offer leisure and learning space for the community, and run education programs to bring children out to the countryside to understand its importance. They generously provided support for my work with information, maps, and photographs. Hand-dyed fabrics, fusible web Fused collage, fused appliqué, machine quilted
photo by Paul Westlake Photography
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Habitats: species 72 x 72 inches
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Kathy Nida El Cajon, California, USA Inspiration: International Planned Parenthood Federation www.ippf.org IPPF provides free, voluntary birth control to women lacking access due to socioeconomic, religious, or cultural constraints. IPPF defends the rights of all people to make wise choices about pregnancy and childbirth. Reducing our human footprint on this planet, by giving people the ability to plan family size and timing, is more effective at protecting our natural resources than providing solar power to every house in the United States. Earth’s natural resources are strained by human consumption. We can improve that, but nothing is more effective than reducing the number of unwanted or poorly timed pregnancies. One quarter of births are unplanned. Women want to plan and time pregnancies to allow them to work, make decisions about family size, and confirm they can provide for their children. But too often, financial or cultural situations limit access to birth control. In Wise Choice, Earth Mother is strained by her children’s needs. Too many are dying from starvation or limited access to natural resources. She dreams of a world where women can plan their lives and care for their families as they choose. Commercial and hand-dyed cottons Fused appliquÊ, machine-stitched, machine-quilted
photo by Gary Conaughton
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Wise Choice 72 x 72 inches
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Mary Pal Ottawa, Ontario, Canada Inspiration: www.savingcranes.org This four-panel work celebrates the hopeful story of Dr. George Archibald, who 40 years ago co-founded the International Crane Foundation, and his lifelong dedication to saving the 15 species of cranes worldwide. Cranes — arguably the most elegant and impressive of all the birds in the world – have a precarious existence and are now perched on the brink of extinction. This work is an opportunity to celebrate all that Dr. Archibald has accomplished, to highlight the need to support efforts to prevent the extinction of these noble birds, and to encourage public involvement in the preservation of wetlands. My “hope” is that viewers will be inspired to become involved or, at the very least, to offer support to this organization. Can one person make a difference? Just look at what this man has done. Cheesecloth, linen, canvas, organza, sinamay, photo transfers, acrylic paint Cheesecloth sculpted with PVA adhesive, machine-stitched to painted canvas
photo by Ray Pilon
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Hope is the Thing with Feathers 72 x 72 inches
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Mirjam Pet-Jacobs Waalre, The Netherlands Inspiration: The L Prize (Bright Tomorrow Lighting Prize) awarded to Royal Philips Electronics for developing an energy-saving bulb with the same kind of light emitted from a common incandescent bulb. Philips’ project worked to improve the color quality of energy-saving bulbs, for which they have won an award. My husband wrote the patent for this bulb. I was inspired by the immense towers in which people live, like the skyscrapers in the U.S. or the enormous tower apartment blocks in the outskirts of St. Petersburg, Russia. The title of the work is derived from the Light Tower, the nickname of the Philips tower building where bulbs and tubes were tested. Silk, silk organza, silver foil, lights Screen printed, machine embroidered, wired
photo by FotostudioLeemans
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Light towers 72 x 72 X 2 inches
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Marilyn M. Prucka Monroe, Michigan, USA Inspiration: Dam removal and/or remediation on the River Raisin in Monroe County, Michigan healthylakes.org/reconnecting-lake-erie-to-the-river-raisin/dam-remediation-on-the-riverraisin-a-great-lakes-restoration-initiative-project/ For many years I have been inspired by the River Raisin. Upstream: detritus accumulates at the dam, water rises and silt fills in behind, drowning out cleansing reeds and the foods, habitat and spawning grounds for wildlife and fish. In drought, the murky waters stagnate. The rightside quilt depicts the brown muddy waters, manmade lines and grids — a net. Downstream: currents aerate and encourage plant life for fish and water-loving wildlife. The waters are clearer and reflective. The left-side quilt uses organic shapes with hints of sky blue. Embroidery celebrates plant life. The quilting lines echo the movement of the currents as they caress the natural forms. Cotton fabrics, cotton threads, tulle, polyester fabric and metallic thread, black walnut dyes from riverside trees Shibori-dyed, painted, collaged, discharged, devorÊ, hand embroidered, rough-edge appliquÊd, hand and machine quilted, machine pieced
photo by Eric Law
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Upstream Downstream: River Raisin Dam Reclamation Project 72 x 72 inches
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Susan Shie Wooster, Ohio, USA Inspiration: Monica Bongue and her Muddy Fork Farm — www.muddyforkfarm.com Patiently merging old time farming ways, Amish methods, and modern organic, sustainable processes into her 27-acre Muddy Fork Farm near Wooster, Ohio since 1997, Monica Bongue is one of thousands of American farmers hoping to bring the world back to simple, healthful food growing and eating. I came home after my August 5th visit to the farm, and randomly drew the tarot card the 3 of Wands to represent this subject. Threes are for harmony and strength, and Wands, which are Wooden Spoons in my own Kitchen Tarot deck, are the element of fire, which is creativity. Small, sustainable farms are creating new Earth energy in a sweetly harmonious and strong way. This piece is full of stories about the farm, but also includes current events and personal diary entries of mine. All stories are written as first and last drafts on the cloth. Cotton cloth, airbrush paint, fabric paint, thread, perle cotton embroidery thread, buddha bead Whole cloth painted, drawn and painted with airbrush, writing made with airpen and fabric paint, machine quilted
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Muddy Fork Farm: 3 of Wooden Spoons in the Kitchen Tarot 72 x 72 inches
46 | Earth Stories
Cynthia St. Charles Billings, Montana, USA Inspiration: ProCon.org ProCon.org is a nonpartisan, 501(c)(3) nonprofit public charity devoted to promoting critical thinking, education, and informed citizenship by presenting controversial issues in a straightforward, nonpartisan, primarily pro-con format. Their website provides pro and con arguments for many topics, including my topic — Alternative - vs - Fossil Fuels. I live in beautiful Montana, a sparsely populated landscape where natural resources are abundant. Both oil and coal (fossil fuels) are extracted from the land within 100 miles of my home. A recent addition to the landscape is the invasive wind farm, which significantly alters the visual landscape. People need energy for modern living, but what does it cost those of us who live near the resource collection sites? What is the impact on plants and animals? I credit ProCon.org with presenting all sides of this important question. With their permission, I have screen printed direct quotes from their website; pro and con statements and data for alternative energy, coal, and oil resources. The wind turbine images are adapted from my own photographs of a wind farm nestled in a beautiful Montana valley surrounded by the Big Snowy, Belt, and Crazy Woman mountain ranges. Cotton wholecloth, acrylic fabric paint, thread Hand painted, block printed with hand carved printing blocks, Thermofax screen printed with text from ProCon.org, fused appliquÊ, Thermofax screen prints adapted from the artist’s photographs, machine quilted
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Alternative - vs - Fossil Fuels 72 x 72 inches
48 | Earth Stories
VALYA Oceanside, California, USA Inspiration: The National Geographic Genographic Project genographic.nationalgeographic.com The project is based on the idea that the human genome is a time record of the history of our ancestors. By uncovering the markers in the genome, science is able to tell who our ancestors were and how they traveled. More than a half million people from over 140 countries have taken part in this project. I am among them. The study shows that all of us living on the planet Earth today trace our origins back to a small human population in Africa. About 60,000 years ago, these early ancestors started migrating and dispersed to fill the entire world. My eyes have been opened to the fact that we humans are literally one family. Unfortunately, people today are moving away from their roots faster and farther than ever before. Humanity is disconnected from itself, from its source and origins. Our societies and nature are near apocalypse. Today we need go back to our roots, to Mother Nature, our mother Earth. It is time for humans to understand that we are just one big family on the planet Earth flying somewhere in space. We are one. Triple white polyester, beads Custom printed, trapunto quilted, beaded
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He Knew That She Knew That I Know 71 x 70 inches
50 | Earth Stories
Leni Levenson Wiener New Rochelle, New York, USA Inspiration: The Turtle Conservancy and founder, Eric Goode www.turtleconservancy.org The Turtle Conservancy is a nonprofit scientific and educational organization dedicated to the conservation of threatened turtle and tortoise species and their habitats around the world. My work is representational fabric collage, which always begins with a photo. In this case, the Turtle Conservancy graciously allowed me to work from their photos. Turtle and tortoise populations around the world are dwindling due to the destruction of their habitat and poachers who sell them on the black market as food, medicine, collectibles and pets. Consequently, I wanted to focus on the helping hands of humans as well as the beauty of the turtles themselves. The Ploughshare Tortoise, with its beautiful domed shell, is one of the most endangered on the planet and is the centerpiece. As shells are often the reason for poaching, shell patterns are the subtheme. The side panel is an artistic interpretation of the shell of a Burmese Star Tortoise. Commercial cotton fabrics, cotton canvas, spun-bonded polyester pressed fiber Raw-edge machine appliquĂŠd
photo by Jean Vong
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It’s a shell of a problem 72 x 72 inches
52 | Earth Stories
Kathy York Austin, Texas, USA Inspiration: Annie Leonard; The Story of Stuff www.storyofstuff.org I am inspired by Annie Leonard from the Story of Stuff and how our massive consumerism is not only bad for the economy, it is bad for the planet. She simplifies the complex system of manufacturing, marketing, consumers, the economy, and the environment in a way that highlights the problems and points to the solutions. On a personal level, I have too much stuff. I spend too much time organizing it or looking for it or trying to get rid of it. I am influenced by my culture and the advertising that surrounds me. I am in conflict because I value a simple lifestyle and yet I have too much stuff. As a measure of the problem, I decided to count all the objects in my house. It took me six months. The larger piece is called Crowded House and is a testimony to too much stuff, as it spills out of the confines of the edges of my house. And it has the Number, the humiliating and nauseating Number. The smaller piece is a tribute to a few of the brands of bottled water and the trash resulting from it. Cotton fabric, fabric paint, thread, squashed water bottle, embroidery thread Machine pieced, traced, drawn, painted, machine quilted
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Crowded house 72 x 72 inches