Interview 2 » Daily happenings

Busy doing and unfortunately not blogging about it

cheryldineenferrin — Wed, 25 Jan 2012 19:48:37 +0000

Hello everyone,
Probably just my brother reading this now as I have been so lax about posting. Other than trying to heal bones in my foot – yes, more broken bones- I am still enmeshed in creating pieces for the Blackfeet Portrait Project. We have gotten a contract for the exhibit from the Hockaday Museum in Kalispell, Montana and I am getting the inventory list completed to send it back to them.
I am still creating work for and exhibiting with the Fiber Artists Coalition (www.fiberartistscoalition.com). It’s a great group to work with and I am looking forward to my next new exhibit with them in the American Craft Council’s offices in March.
I will post my next completed work soon: Motorcyclist Portrait Project: the Librarian.
Bye for now!
Cheryl

How I spent my summer vacation . . . 3

cheryldineenferrin — Wed, 29 Sep 2010 16:47:15 +0000

Ok, so by now I have a list of about 25 Blackfeet artists and I am looking for contact information. I was really surprised to find that many of these artists do not have their own websites and the information I could find was not leading me where I needed to go. This made tracking them down a bit problematic. With the help of Darrell Norman, David Dragonfly and Zola Sellars I was able to find almost all of the artists on our master invitation list.
I spent about two weeks calling and e-mailing artists when I needed a break from working on the SAQA Portfolio 17 editing job. Most of the artists I spoke to were interested in participating, although a couple had to be coaxed a bit – and one artist did turn me down flat.

Jackie Larson and some examples of her work

The turn down came from Jackie Bread Larson. Her work is amazing. She creates beaded works, both traditional beadwork and realistic portraits that must take forever to complete. I saw one of her beaded portrait bags in Darrell Normans Lodgepole Gallery while I was visiting, it was incredible. He told me that the week before we arrived two of her works had been stolen from his gallery. It is awful that that happened but from a certain perspective it is a testament to how prized her works are. I don’t recall the title of the work I saw in Lodgepole Gallery but I was struck by the attention to detail and the radiant quality a portrait gains when created from small glass (?) beads.
I found this quote from Jackie on one of her galleries websites:
“The beads are size 14 and a small amount of size 11. The stitch technique is called applique, a two needle process where one needle carries the beads and the other is used to sew down the beads.
“Blackfeet people use this stitch exclusively. It is incredibly time consuming and the most complex stitch used in traditional beadwork. I like the detail that this stitch renders and the smooth tight appearance that it gives.”
Apparently Jackie never has an inventory. Her works move that quickly. She literally sells everything she makes as soon as it is completed and this was the reason she gave for turning me down. She would not have any work that she could afford to tie up for three years in a traveling exhibit.
I am still hoping that Jackie will reconsider her decision.

So, yes, I’m back

cheryldineenferrin — Thu, 01 Jul 2010 22:06:18 +0000

Cheryl's NEW walking brace for her dislocated/broken/torn poor old knee.

Hi,
Glad to be back. I have been laid-up for a brief period recuperating from a motorcycle mishap. We are referring to it now as “the incident”. I would not normally show off my legs to just anyone, but since it’s just you and me . . . here is the new hardware that I am sporting while my knee heals up.
I am about a month away from starting any physical therapy but I am feeling well and want to get back in the studio and finish 30 or 40 works that I have started. I know, patience. And here for a rare appearance in my blog is my studio cat, Honey Bee. She is a good companion, very low maintenance.
I have shipped a couple of works off to be exhibited with the Fiber Artists Coalition at Circle of Arts Gallery in lovely Charlevoix, Michigan. Charlevoix is in the very northern part of Michigan’s lower peninsula, not too far from Traverse City. The exhibit runs from July 17th to September 19th, so if you are in the area be sure to check it out.
I have been working with a friend on some traditional quilts that we will donate to Binky Patrol for distribution to homeless shelters, crisis centers and local missions. It may seem strange to make these donations during the summer months but, last night it was about 45 degrees here. People who need assistance are still cold.
Thanks to everyone who provided words of encouragement and wishes for a speedy recovery. All that good vibe is working. More later. I promise, it will get more interesting.

The Reinvention Conference

cheryldineenferrin — Wed, 24 Mar 2010 17:02:58 +0000

I just got back from a joint conference of the Surface Design Association and Studio Art Quilt Associates. I am a member of both organizations. While this was not the first professional conference for artists I had attended, I thought it was the most useful. Rather than focus on techniques or professional development the focus of the conference was very much about identity. How does fiber art and the art quilt fit into the art world today.
I stopped asking myself why I wanted to work in fiber, as opposed to paint, a long time ago. For me the tactile and manipulative qualities of fabric perfectly mesh with my desire to create innovative and interesting works of art. I did, however, start asking myself “to what extent do I allow public perceptions of fiber artists and art quilts to influence my creative decisions?” There were many interesting speakers at the conference and I know I will be mulling over their comments for some time to come.

Lacey Jane Roberts, Dropping Stitches. (Detail) Hand-knit yarn. 10ft x 20ft. 2002.

Lacey Jane Roberts was one of the participants in a panel of emerging artists. Her work reflects her love for, and understanding of, the power of the word. She’s an interesting and motivating speaker who seems to have a solid bead on the art world. If you would like to see more of her work, please visit her website at
www.laceyjaneroberts.com
I thought LJ’s tools for working were just hilarious. She creates these knitted forms, not just with regular knitting needles, but with kids crank-style knitting machines – in particular, a lovely sparkly Barbie knitting machine. I thought I had seen every thing in knitting machines . . . how did I miss that? Here are a couple more great works by LJ. I just could not stop laughing at Armed and Dangerous. Hope you enjoy them too.

We couldn’t get in. We couldn’t get out. Detail. Installed in Clarion Alley, San Francisco, California. Detail. Hand-woven wire, crank-knit yarn, steel poles, assorted hardware. 10’ x20’. 2006-2007

What kind of opportunity is knocking?

cheryldineenferrin — Mon, 11 Jan 2010 14:21:01 +0000

Maria Elena Kravetz, the owner of a reputable gallery in Cordoba, Argentina, contacted me to see if I was interested in showing my work with her gallery at International Sculpture Objects & Functional Art Fair, SOFA West, Santa Fe, New Mexico. Now, an opportunity of this magnitude does not normally drop on my doorstep, so I thought it would be worth pursuing.
Ms. Kravetz said she had reviewed my work on my Web site and thought it would do well at SOFA. As I knew her gallery had been exhibiting at SOFA Chicago since 2000, I felt confident that she knew what she was talking about. (OK, and just a little flattered for having my artwork recognized. That gallery has such good taste in artists.)
Ms. Kravetz said, that in exchange for a co-op arrangement, she would reduce her commission on my works sold during the exhibit. Then came the fees, terms and conditions via e-mail. I know that participation in high-end shows is quite pricey. A show like SOFA can command higher fees from galleries when its management gathers 31,000 collectors to view the represented artworks.
I suspected Kravetz might request co-op dollars. In the past, I have partnered with smaller galleries which have asked me to share promotional costs to raise public awareness of my name and this, in fact, was the case with Kravetz.
The Maria Elena Kravetz Gallery proposed I pay $4,500 to have two of my pieces on display for three days (on a six-foot wall space) at SOFA West in Santa Fe and another $1,000 to have an image of my work printed in the SOFA West catalog under their Kravetz Gallery banner. As part of the arrangement, I would also be responsible for all shipping charges and, presumably, my travel expenses. For the fees listed above, they agreed to charge me a discounted commission of 30% on any sales of my works. I was not prepared for the sticker shock. And it got me thinking: is it standard for galleries to ask artists to pay-to-play?
Corey Hampson, Sales Director for Habatat Galleries in Royal Oak, Michigan, helped me put this proposal in perspective
I2: Corey, how do you pick the artists that Habatat Galleries takes to an exhibit like SOFA Chicago?
CH: That’s a very good question. Some artists we bring every year as we have, or are, developing a relationship with them . . . we represent 100 artists from 17 different countries. We select seven artists to go each year with us and then another seven are invited based on feedback from collectors or who is making waves in the market.
I2: “Making waves”?

Josepha Gash-Muche, Coburger Glaspreis artwork

CH: Yes, for example, Josepha Gash-Muche, (pronounced gash-mooka), from Germany, won the First Prize in the Coburg Glass Prize in 2006. This is a big deal, the Coburg Prize is not awarded every year. The Corning Museum was collecting one of her pieces and we heard about it. We invited her to send a couple pieces [to the gallery] that sold immediately, so we took her to [SOFA] Chicago.
[Prior to the 2006 awards, 20 years had passed since the last Coburg Glass Prize. The aim of the Coburg Glass Prize is to give an overview of contemporary glass in Europe. This competition is recognized world-wide as one of the most important competitions for glass.]
I2: Is it “standard” for galleries to ask artists to pay to be represented at an event like SOFA?
CH: That’s an interesting concept…but no, it’s not the standard to ask artists to pay. I know that for us, Heller [Heller Gallery, New York], Holsten [Holsten Galleries, Stockbridge Massachusetts], and Ken Saunders [Ken Saunders Gallery, Chicago], and many others, the gallery pays the artists’ way.
SOFA is unbelievably expensive. It costs $90 just for one light in your booth. We are considering participating in other exhibits like Art Palm Beach in West Palm Beach, Florida and a new show in the Hamptons. Galleries are trying to get an alliance together to get a venue that is a little less costly — our own satellite venues at these high-priced exhibits. This is the future of contemporary glass. Exhibitions can run dry — especially if you are out in the middle of nowhere — but we can really promote the artist when 20,000 collectors, or people interested in art, are attending.
I2: So, how did you do at SOFA this year?
CH: This was our second year in a row of record sales.

If “pay-to-play” is not standard practice, I wondered what the perspective of the SOFA management would be on this proposal? Do they know about this? They offer an elite group of exhibits here in the US. Is this what they want to happen?
Mark Lyman, President of The Art Fair Company, Inc., who produces SOFA New York, Chicago and Santa Fe, had this to say:

“Just to set the official record straight: We have never asked or encouraged any gallery to essentially sublease space in their SOFA booth to any artists. It is not the business model we are interested in supporting. Our dedication is to the galleries who support their artists by giving them shows in their galleries or at art fairs and take the risk of doing so. The financial arrangement between the gallery and their artists is generally one where the sales of the works sold are equally divided, or, in some cases where the gallery dealer purchases a body of work from an artist outright to present. Any variation from this practice generally ends up being self-correcting, as most artists of merit are loath to “pay to play”. It generally indicates a very short term relationship.”

That pretty much says it all, doesn’t it?
Another artist with whom I discussed this situation said: “I know how hard it is to market yourself, but we just [have to] get out there! Have faith in yourself . . . and keep creating.” “Good for you, for not being (literally) bought and sold, and exposing this situation.”
The sad part is, that the offer to show my artwork at SOFA is the most exciting promotional opportunity I have ever had. Representation at SOFA is a crowning jewel. Since, however, I do strive to be “an artist of merit,” you will not see my work in the Maria Elena Kravetz Gallery at SOFA West under these terms. But do stop by my Web site, I’ll keep posting images of new works for all to enjoy.

Follow-up — a copy of my response to Maria Elena Kravetz Gallery:

Dear Ms. Kravetz,
Thank you for thinking of me, as you consider the artists to take with you to SOFA West, Santa Fe.
I carefully reviewed the information contained in your last e-mail. While I would appreciate the opportunity to partner with a gallery that has such a fine reputation in the art world, as yours does, I am interested in developing a long-term relationship with a gallery as a business partner — under a standard artist representation agreement. The terms and fees you proposed for representation by your gallery, at SOFA West, reflect a non-standard business model for this relationship. I feel that accepting this proposal would not be in my best interests.
Again, thank you for your feedback on my work. I wish you continued success in your participation with SOFA and in your other endeavors.
Sincerely,
Cheryl Dineen Ferrin

Happy New Year!

cheryldineenferrin — Sat, 02 Jan 2010 21:21:47 +0000

Hope everyone has been enjoying fine weather, health and the joys of the season. Here in Michigan we have about 6 inches of snow-not much by our standards-and about 20 degrees.I spent much of last week in the Chicago area with family and learning the finer points of snow-resist dyeing of fabric. I see this in my future for a couple projects that I have on the books.
Many of you may recall that this time last year I was implementing quality and process control strategies in my studio. It has been an exciting year that has led to many improvements and much better business practices for me. I suppose that is the silver lining of an economic downturn. For, while I had very little custom business to complete during the year, I had extensive opportunities to work on my speculative art work and implement process management. I do not believe it too dramatic to say that it has changed my life. I am still struggling with a few of the parts of the implementation, but overall it has been a wonderful and successful year of quality.

The Blackbird Exhibit

cheryldineenferrin — Sun, 20 Sep 2009 19:02:15 +0000

Today I am working on my pieces for the exhibit sponsored by the Fiber Artists Coalition. www.fiberartistscoalition.com
The group of fourteen artists proposed a traveling exhibit inspired by a Wallace Stevens poem. As soon as I read VII, I knew what my composition would be. In 1998, not long after we moved to Michigan and ages before those fun little iPod ads, my dear husband took a rather unflattering Polaroid of me cleaning the kitchen. Uh, yeah. I wasn’t having any of that at the moment so I confiscated the Polaroid, grabbed a black Sharpie and proceeded to completely blacken my image. I was intrigued by the abstract nature of the silhouette but not interested in maintaining the hyper-realism of the background. As with many things, I needed to give myself time (11 years?) and opportunity to realize the direction of the artwork. There is a “glow” around the figures which is yet to come. The works are created from my hand-dyed silks and a black commercially-dyed silk noil (raw silk).
The first venue for the exhibit will be the Gov. French Gallery in Belleville, Illinois. This is a lovely gallery. Regrettably, I am unable to attend the opening as it conflicts with SOFA (Sculpture Objects Functional Art) Chicago in early November. Here are the works – currently under construction – that I am sending to the exhibit and the poem that inspired them.

Cheryl Dineen Ferrin, Blackbirds at Her Feet, diptych each 45x36 inches

Thirteen Ways of Looking at a Blackbird
Wallace Stevens
I
Among twenty snowy mountains,
The only moving thing
Was the eye of the blackbird.
II
I was of three minds,
Like a tree
In which there are three blackbirds.
III
The blackbird whirled in the autumn winds.
It was a small part of the pantomime.
IV
A man and a woman
Are one.
A man and a woman and a blackbird
Are one.
V
I do not know which to prefer,
The beauty of inflections
Or the beauty of innuendoes,
The blackbird whistling
Or just after.
VI
Icicles filled the long window
With barbaric glass.
The shadow of the blackbird
Crossed it, to and fro.
The mood
Traced in the shadow
An indecipherable cause.
VII
O thin men of Haddam,
Why do you imagine golden birds?
Do you not see how the blackbird
Walks around the feet
Of the women about you?
VIII
I know noble accents
And lucid, inescapable rhythms;
But I know, too,
That the blackbird is involved
In what I know.
IX
When the blackbird flew out of sight,
It marked the edge
Of one of many circles.
X
At the sight of blackbirds
Flying in a green light,
Even the bawds of euphony
Would cry out sharply.
XI
He rode over Connecticut
In a glass coach.
Once, a fear pierced him,
In that he mistook
The shadow of his equipage
For blackbirds.
XII
The river is moving.
The blackbird must be flying.
XIII
It was evening all afternoon.
It was snowing
And it was going to snow.
The blackbird sat
In the cedar-limbs.

The Masters Shed New Light

cheryldineenferrin — Mon, 31 Aug 2009 13:49:43 +0000

I have been trying to get some flesh tones right for some time now. Part of my challenge is managing the dye process. Colors do tend to shift somewhat on silk. The other part of the challenge is my vision of the creation in the first place. Here’s what I’m working on now. A motorcyclist in the sunlight with strong shadows on his face. Since I am drawn to strong bold colors, I tend to want to render the planes of the individuals face with those same strong colors that I see. What I wind up with is a cartoon-like over dramatization. I am not happy with it.

MPP: Bill, initial working sketch

When I compared my sketch to a wonderful work by Alex Katz, I saw where my problems were. Look at how little change there is in the value between the highlights and shadows in Katzs’ work. I have been trying to force a heavy hand where I need a light touch. Here’s my new guide:

MPP: Bill, revised working sketch

Vacation

cheryldineenferrin — Fri, 31 Jul 2009 13:55:22 +0000

Ferrin Homestead, Au Sable Forks, New York

[caption id="attachment_211" align="alignright" width="288" caption="Au Sable Chasm, outside AuSable Forks, New York, about 65 miles south of the Canadian border."][/caption]I must have looked and acted as if I needed a vacation after the Portfolio went off to the printer. My husband and his father were going on a genealogy research trip to upstate New York and swept me up with them. Humm, I don’t suppose the years I spent running the research department for a few newspapers in Michigan had anything to do with that. My husbands family settled in Au Sable Forks, New York prior to 1850: it’s about 24 miles east of Lake Placid. The Au Sable Forks area is really beautiful but, as with many areas of our great land, suffering in this economic downturn. The local hardware store recently closed-a hardship for a rural/agricultural area.
With the help of the town historian, an 1873 atlas and an old painting of the property, we found what we believe, with a very high degree of confidence, is the old family homestead (pictured left). And just to show that it wasn’t all the grind of researching local records-here is a picture from the hiking trail we traversed in the Au Sable Chasm. I will be back in the studio on Monday, rested, refreshed and ready to start the new cycle of my yearly activities. Hope you are all doing well, wish you were here.

Starting a new artwork

cheryldineenferrin — Sat, 11 Apr 2009 06:17:53 +0000

I have been breaking up the work on editing the Portfolio with preparations for my next “Elements” work. For those of you not familiar with this series of mine, it is basically a collection of works that span the boundaries between art quilts and kinetic sculpture. I create these works from my own hand-dyed silks, gold-plated and brass jewelry findings and freshwater pearls. They move, they glow with color.
I’m preparing a work for an exhibit with the Fiber Artists Coalition. The exhibit title is “Some Like It Hot” and it is going to focus on creating works with hot colors-orange, reds, etc.
Here’s a detail of the fabric that I just finished dying for the work.

I’m also preparing for the International Quilt Festival-Chicago that will open next week at the Donald E. Stephens Convention Center in Rosemont, Illinois. I’ll be giving a presentation on creating a portrait quilt on Saturday afternoon and I will have some new work with me to display.
Happy Holidays to all!