Glass orchids: a passion for artist Debora Moore

Two views of a piece in Debora Moore's "Host" series

Joyce Kilmer wrote that "only God can make a tree," but Seattle artist Debora Moore creates some impressive representations, then decorates them with exquisite orchids--all in glass. CQA members and guests were in awe at the detail and delicacy of Moore's works as viewed at the group's November 12 meeting.

Moore began her artistic journey as a ceramicist but quickly found that clay didn't give her the transparency and fluidity she wanted. Influenced by the works of glass artists in Europe and especially by a collection of lampworked glass flowers at Harvard University, she selected glass as her medium. She began studies at Pratt Fine Arts Center in Seattle, where "I started at the bottom and worked my way up," she said. "I fired the furnaces...I cleaned the studio...I did anything and everything that needed doing!"

Seattle glass artist Debora Moore at CQA meeting

Following her sessions at Pratt she studied and then instructed at the Pilchuck Glass School, and later worked with Pilchuck co-founder Dale Chihuly in setting up the Hilltop Artist in Residence Program in Tacoma. Although situated in one of the city's poorer areas, the program was originally aimed at more affluent children. With Moore's insight and persuasion, the program soon morphed into serving the disadvantaged children in the surrounding area. At first the attendees were typically rowdy, reports Moore, but after experiencing the dangers of working with glowing furnaces and super-hot glass they began to change: they recognized the need for teamwork and responsibility for each other. With pride, Moore recounted that some of these students went on to graduate from the Rhode Island School of Design.

"Lady Slipper" orchid...made of blown glass

One of Moore's pieces in her bamboo series

Moore's own works represent nature, and originally she produced a variety of different flowers in her pieces, including a number of works sold through the venerated Gump's store in San Francisco. But once she began with orchids, then it was orchids full time: "Once you're bitten by the orchid bug, there's no going back!" she said, though she admitted she doesn't try to grow them herself: "I have a terrible habit of examining them to death!"

From Moore's "Nymph" series, inspired by statues at Ephesus

Always interested in travel, she began to travel specifically to regions where orchids occur naturally. First it was Jamaica...but she ended up finding the best display of orchids in a conservatory, not in the wild. Then it was Thailand...and once again she ended up viewing the orchids in a garden setting! But a different theme came from the trip to Thailand: inspired by the bamboo present most everywhere, she returned home to begin her bamboo series. Here, orchids are placed on bamboo trunk sections or sinuous representations of their leaves. A visit to the Roman ruins of Ephesus in Turkey, where the ancient library includes statues of women representing Virtue, Wisdom, Knowledge, etc. inspired her "Nymph" series.

Lichen in Antarctica, an inspiration for the "Host" series

Mosses in  Antarctica inspire Moore's "Host" series

Another of Moore's series--"Host"--came about because of a trip to Antarctica. A photographer friend was leaving on a work assignment on the frozen continent, and Moore quickly put together a proposal to research moss and lichens/algae that gained her a spot on the research vessel. The pieces resulting from this venture look totally real; the color, texture and appearance of the mosses are astonishing. On some pieces she uses acid to reduce the natural shine of the glass to a velvet quality.

Realistic mossy "trunks" provide hosts for glass orchids

One of Moore's more sinuous "Host" pieces

The moss looks so soft to the touch...but it's all glass!

And it's in this "Host" series that a number of pieces grew from short sections of "tree trunks" on pedestals to components that can be connected or even spread out to suggest "trees" that span large areas, up to entire walls. One such piece was commissioned by a woman who had a full-wall cabinet built just to display one of Moore's glass trees dotted with orchids. Another piece was intricately planned to fit around a corbel arch.

Moore beginning "tree" installation in custom-built cabinet

Finished tree installation in cabinet

Detailed drawing of piece planned for a corbel arch

All of Moore's work is blown glass, with final pieces created by an assembly process. At first the small components were joined "hot," but now many of the small clusters are so delicate that they need to be attached with silicon glue. "All my techniques I developed by trial and error," said Moore, "and everything is planned out in detail. Nothing can be 'on the fly.'"

Notice striations in the orchid from use of "reactionary" colors of glass

Excellent example of striations from using two "reactionary" colors

Who wouldn't want to own this colorful orchid!

In her design process, Moore creates extremely detailed watercolor drawings with specific numbers for each variation of each color ("nothing is just 'Red'"). Color is added to the molten glass (2150 degrees) with frit or powder; bits of molten glass can be gathered on a pipe and added as the pieces are being assembled. Her assistants bring the component pieces to her for final assembly; it can take four man-hours to produce two flowers. A number of her current pieces display the striations that result from using "reactionary" colors--two colors that react with each other in interesting ways, sometimes drawing away from each other, at other times creating the intricate striping so characteristic of some orchids.

Moore's work has appeared in many museums and exhibitions, and has won recognition and numerous awards for her both in the US and internationally, including working residencies in Tacoma and Murano, Italy. She will be featured in a solo exhibit at Seattle's NW African-American Museum in October, 2014. ‎
http://www.deboramoore.com/

“Double-header” CQA/SDA meetings feature Bucknam, Dunnewold

CQA and SDA members join for a pair of meetings

Members of Contemporary QuiltArt Association (CQA) and the Washington chapter of Surface Design Association (SDA) were in for a special treat on October 12, when the two groups arranged back-to-back meetings featuring two stars of the fiber-arts community: Bonnie Bucknam and Jane Dunnewold.

Thanks to CQA members Lorraine Edmond for preparing the following reports on the presentations and Christina Fairley Erickson for the on-scene photos.

Part 1: Bonnie Bucknam and the art in nature

Bonnie Bucknam with her piece "Canopy" on the wall behind her

The October CQA meeting gave us an opportunity to hear from one of our own members, Bonnie Bucknam, who described both her inspiration and the details of her creative process.  The title of Bonnie’s presentation, “Sticks and Stones,” succinctly captured the two diverse threads that have inspired much of her art.

Bonnie majored in anthropology and minored in geology, and recalled always being interested in geology from an early age. She explored the Sierras and Death Valley, both places where the details of the landscape are clearly exposed, as vegetation is sparse.  After moving to Alaska, where she spent over thirty years, those wide-open spaces were an important visual presence as well.  Upon retirement, Bonnie moved to Vancouver, Washington, where, she noted, “the trees are so thick you can barely see the ground.” Trees with complex patterns of limbs inspired work based on the branching forms. These two influences led to her current series, “Geology” and “ Tangle.” 

Bucknam's  piece "Cavern"

She showed images of both series as she explained the evolution of her work and the construction processes she uses.  Bonnie studied with Nancy Crow back in the early’90s and learned to develop one motif from a collection of sketches. Now she may make 20-50 sketches before deciding on one to develop. The motif is stretched and turned as the overall composition is developed.

Detail view of Bucknam's "Reflection"

Sometimes a sub-sample or fragment of a sketch becomes the final motif she works with.  Much of Bonnie’s earlier work was inspired by ethnic arts and crafts. A sketch of a pre-Columbian weaving became a basis of several quilts.

Bonnie’s quilts are constructed with one of three processes. Some smaller pieces are free cut based on a sketch. When a piece is so large that doesn’t work, she will make a pattern from the sketch instead, after having the final sketch enlarged at a copy service with a wide printer. The third process involves improvisation directly on the design wall.

Bucknam's piece "Crater"

She takes numerous photos of her work in progress; this allowed her to show us her process in some detail. Decisions were made and some were re-made. Lines were added and subtracted, colors were auditioned and sometimes removed. Sometimes the whole piece would be re-oriented late in the design process. We also had the benefit of seeing some of the final resulting quilts, visually stunning in their combination of simplicity and intricacy.

Bucknam's "Canopy"

Bonnie bought a long-arm quilting machine after she moved to Vancouver, and that helped her make larger work--especially important since her quilts are very densely quilted. It may take her 6-10 days to quilt a large piece, working on it 3-4 hours a day.

Her final message for the group was “Persistence Pays!” She has been quilting for 44 years now.  Back in 1987, a friend suggested she enter a piece in Quilt National. “Quilt what?” she responded. She ended up getting accepted that very first time. Then she entered for many more years, but it was 2009 before she was accepted again, and in 2011 she won Best of Show. She closed her talk with urging the audience just to “Keep Quilting!”

Attendees study Bucknam's samples following the presentation

For more information about Bonnie and her work, go to http://www.handwerktextiles.com.

Part 2: Jane Dunnewold and “the psychology of doing art”                        

Jane Dunnewold, left, is introduced by Barbara Matthews of  SDA Washington

Immediately following October’s regular CQA meeting, many members stayed in their seats as the Washington State chapter of the Surface Design Association was treated to a visit from the national SDA president, Jane Dunnewold. Jane has been a teacher and mentor to numerous members of the CQA community for years, but this was her first visit in her new role.  Known in the wider world as a textile artist who literally “wrote the book” on surface design (Complex Cloth), Jane also teaches and lectures widely on other topics related to creativity in a more general sense.

Interestingly, Jane doesn’t refer to her work as textile work. She wants the focus to be on the art rather than the media. When asked, she calls herself a mixed media textile artist, even if the piece is a quilt. For this presentation, although she showed us many lovely and inspiring images of her work and her new studio and teaching facility in San Antonio, Jane chose to talk primarily about what she called “the psychology of doing art.”

Dunnewold's new "wet" studio

Dunnewold's new "dry" studio

She asked the audience to consider the question “What inspired you to think of yourself as an artist?”  She noted our common beginnings: “We’re all seduced by color, but after the initial burst of enthusiasm the analyzing begins. We acquire workshops, teachers, supplies. There are so many things at our disposal, we don’t experience limitations or boundaries.”

Of course we are engaged by the world and by our senses, but a time arises to become more interior. Jane advised us to sit carefully and quietly as we consider what our best path is.  She believes that we area seeking is alignment—that blissful state where what you love to do is what you’re good at.

You can be good at something and hate it, which can make it hard to leave it behind.  Conversely, you can love something and not be good at it.  In that case, practice is needed, but daunting.  We start out wanting to play, and not wanting judgment of our work. By the time we understand what we’re doing, we’re invested in being good at it, and then it becomes more rewarding than when it was merely play. But how to get there? That’s elusive!

"Degredation" by  Dunnewold

Jane advises that we first have to drop some old ideas. First, “the talent question.” We all have different gifts, but it isn’t helpful to focus on where you are on the continuum. Second, the “busy, crazy life” that gets in the way. Everyone has that. Third, and maybe most important, “The Committee.” The Committee lives in your head and it may be your own voice or that of a parent, or your first art teacher, or even Nancy Crow. Your Committee is all the people you want to please. When you realize who is on your Committee, you can dismantle it, and then have a new kind of freedom.

"Tender Heart" by  Dunnewold

The next thing to work on is something Jane calls “Creative Stamina.” Stamina develops as a result of strength training, and Creative Stamina develops as a result of Creative Strength Training; and furthermore, it needs to be the equivalent of Cross Training.  This might include what Jane referred to as “cultivated looking.” It might include something similar to her year-long daily photography blog. Jane credits that daily photography practice with making her a better artist as she learned to see the world in a richer way—closer, and in more detail. Other approaches might include writing (asking yourself questions and writing the responses) or doing timed free-association exercises and noting the visual images that emerge from that. It’s important both to cultivate curiosity and to keep track of the things you’re curious about.

Jane’s final words of wisdom included the following: “It’s OK to screw things up. If you haven’t, you’re not trying.”  And last, but probably most important for many of us, those words that need to be printed as a giant poster: “Go back to the studio and stay there.”

For more information about Jane and her work, go to http://www.artclothstudios.com.

 

Lorraine Torrence on the elements of critique

Lorraine Torrence ticks off design points at the CQA critique session

In mid-September, Lorraine Torrence, beloved and respected designer, textile and quilt artist, teacher, retreat leader and co-founder of Contemporary QuiltArt Association, popped back into Seattle from her new home in Madison, Wisconsin.  During Lorraine's visit, CQA was fortunate to have her lead the group in a spirited, educational critique of  more than a dozen fiber art pieces brought in by members for the September 14 event.

Lorraine prefaced the session by discussing the difference between "critique" and "criticism" in regard to viewing the works of other artists, saying that "People are better critics than inventors." She noted that too often we start our critiques with the words "I like this..." or "I don't like this...," both of which Lorraine calls "useless." She pointed out that, as viewers and critiquers, we cannot judge the content of a piece as that is entirely within the choice of the artist. Instead, we can and should be looking at such things as form, composition, arrangement of elements, balance, contrast, etc.--all the language of the principles of design no matter what the medium. As an example, in doing representational art the artist needs to pay attention to such things as a light source, wind direction, etc.

Ahead of the critique session, Maria Michurina checks out these pieces, by (from left) Barb Fox/Bonny Brewer, Carla DiPietro, Meg Blau and Colleen Wise

"We need to keep the same design principles in mind in studying our own pieces in progress," Lorraine urges. "If you think it's not working, go through a design checklist yourself to see if you can find out why it's not working," she said.

And anyone who's studied with Lorraine is well acquainted with "Lorraine's Law," which everyone agreed should be carved in stone: "Make visual decisions visually!" To illustrate this "law," she described a couple of actions to take. One is to grab small pieces of fabrics and pin them in the areas that seem to be troublesome, substituting different fabrics, shapes or placement until you can work your way to a decision. Another way when, for example, trying to decide on sizes of or even whether to include borders or edges, would be to take a photo of the piece, make a paper mask or cropping "L's" that can be repositioned on the print, and try many alternate approaches.

The multi-unit piece at right is a group quilt. Lorraine said that greater cohesion could have been achieved by each maker responding to the work of each previous maker in sequence, rather than all artists working simultaneously. Tesi Vaara's piece in her "Tiles" series, at left, provided discussion points on borders. (Far left: CQA President Mary Lewis)

Most of the pieces CQA members brought for the critique session were by individual artists, except for one made by two people (sisters!) and one assembled by a single person from units created by a fairly large group. The first piece was judged well integrated as the two halves were produced sequentially. On the second, Lorraine commented that "Group pieces are most successful if each person is responding in turn to the work of the previous artist or artists, rather than each person working independently and simultaneously."

Guest Carol Hill (left) and member Melisse Laing (right) trade thoughts on these works brought for critique. The piece on the left is by Donna DeShazo; the one on the right is by Kathy Cooper.

For one quilt, the artist admitted she had no idea what was "wrong" with it. Between Lorraine and the group, a possible solution was quickly found by folding away some of the background of the piece on both the bottom and the sides so that the main image went off the edges. This lead to another "law" that Lorraine espouses: "Every inch of a quilt needs to have a purpose!"

Kristine Service (right) describes her frequent method of  "working from the center, out" as CQA President Mary Lewis (left) holds up one of Kristine's pieces

At the end of the session, all participants agreed that valuable information about the basics of critique had been received as well as helpful comments about each work--and all in a highly supportive environment. Those bringing in works for the critique included: Colleen Wise, Donna DeShazo, Carla DiPietro, Tesi Vaara, Bonny Brewer, Barb Fox, Meg Blau, Barbara O'Steen, Kathy Cooper and Kristine Service.

For more information about Lorraine Torrence and her work, go to http://www.lorrainetorrence.com/.

Celeste Cooning Does the Most Amazing Things with Paper!

Celeste Cooning at CQA August 10 meeting. The large leaf in background is part of an installation at the Theo Chocolate factory in Seattle.

Celeste Cooning's first art supply (at age 3) was a roll of Scotch tape. Her current art supplies include 200-yard rolls of Tyvek and a large (very large) collection of X-Acto knives...and oh, what the Seattle-area artist can do with them! Cooning enthralled the attendees at the Contemporary Quilt Art Association meeting August 10 with views of her amazing cut-paper works that range from a (relatively) simple wall sconce to a massive, multi-panel "wall" that backdropped a huge stage.

Simple paper cut added to sconce

Cooning's large cut-paper stage backdrop (at right) was commissioned by a UW professor for performances in Kane Hall theater.

Celeste worked mostly as a painter of realistic works in gaining her Fine Arts degree at an Indiana university, enjoying portraits and patterns. She moved to Seattle to work for her MFA at the University of Washington, attempted more abstract work, but never felt comfortable with this genre.

A silk dress tossed on her bathroom floor inspired this realistic painting

One of Cooning's final abstract paintings

It was during a week-long drawing marathon that Cooning, bored, had a sudden urge to move on to paper. Her early efforts in this direction--paying attention to surfaces and where the pieces overlapped--are what she terms a seminal bridge to her later work.  She then spent a summer cutting leaves and flowers, enjoying the interplay of light and shadows, and ending with a wall piece that was 15 feet wide.

Her first efforts at cutting paper...

...and the 15-foot-wide results of a summer's cutting!

Continuing in this direction, for her MFA thesis Cooning created a full-wall piece, 20 by 20 feet, that was displayed at the Henry Gallery on the UW campus. Though she started her cutting projects using Strathmore drawing papers, she soon moved on to Tyvek for its resilience and permanence.

20 x 20-foot piece shown at Henry Gallery

Cooning has developed a rental market for many of the pieces she's been creating since she finished school six years ago. One channel for her rentals has been storefronts around the Puget Sound area. Often where a retail space is between tenants, the owner or rental agent wishes to have something nice-looking in the windows. And because the pieces are flexible, between rental uses she can store them either as rolls or folded flat.

A double window installation

Closeup of part of a window installation

Backlighted window installation

Multilayered window installation

Another rental channel for Cooning's pieces grew out of her work for a caterer during her college years. This gave her entree into the area of wedding decorations, and one of her steady sources of business is local wedding planners.

These large, mirror-image panels were used as a backdrop for a wedding in a SODO facility

View of SODO facility with Cooning's panels above and mirror-image panels at far end of aisle

Another of  Cooning's pieces formed a backdrop for a "Marriage of Equality" ceremony when same-sex marriage became legal in Washington state

Cooning calls herself "a maker," a term that's taken on particular meaning these days as part of a resurgence in appreciation for fine hand-craftsmanship. "I'm very process oriented," she says. Working on a 4- by 8-foot table with a self-healing cutting mat, Cooning painstakingly cuts each part of her designs out of rolled Tyvek with an X-Acto knife. Sometimes she will make templates for particular motifs that she knows she will want to repeat. Any marking of designs on the Tyvek is done with a light yellow Sharpie, as marks on this material do not come out. She will use digital editing/design software sometimes for the original pattern design or manipulation, and occasionally has used an overhead projector to get the design onto the Tyvek, but mostly she relies on her own drawing skills.

Although the Tyvek could be colored with the use of house-paint pigments and other materials, the process is quite labor-intensive and Cooning prefers to rely on colored lighting when something more than the basic white is needed.

An idea of what colored lights can do to the white Tyvek in this installation in a public park. Figure at bottom is playing a piano beneath the installation.

Lights add color to the basic white material

Sometimes a surrounding color adds punch to the white material...

...and sometimes the material itself is THE focus--this is a reclaimed sail!

Cooning frequently teaches paper-cutting workshops at public outdoor events, and those taking part can produce some interesting pieces. As these pieces may rightfully be called "sculptures," it's only fitting that one such workshop took place in Seattle Art Museum's Olympic Sculpture Park. The only rule she cautions at these events: "Watch your free hand!"

Paper-cutting fun in the outdoors

A "wrap" produced by one of  Cooning's students

Obviously happy student paper-cutters!

Cooning was among the Northwest artists whose works were selected for the "High Fiber Diet" exhibit at the Bellevue Arts Museum earlier this year, and her huge, multi-layered piece had viewers wondering how she managed to create such depth and intricacy. Light and shadow play huge parts in her works.

Cooning's piece at BAM was something like 9+ feet tall.

Light and shadow, layer upon layer.

Design intricacy throughout many layers

Other public installations have included one displayed in a plexiglass box mounted to a pole as part of a designer's series of street art pieces!

Model for piece to be placed in plexiglass box

Final installation of street-side plex box

A number of Cooning's pieces have been installed in public parks in the Puget Sound area, with most or all supported by 4Culture grants. The Tyek material has proved to be capable of standing up to the elements (it's even hosable if it gets grubby!), and Cooning says there has been little or no vandalism of these installations.

One of her first park installations

Looking up through the installation

A hexagon-design installation in Seattle's Occidental Park

A "chandelier" installed in a Burien city park

Another park "chandelier." The thin strings at the bottom of these chandeliers are strings of small beads.

A commission for Seattle's Theo Chocolates factory had Cooning designing both realistic and fanciful jungle leaves, many of which were produced on Tyvek that was colored on both sides (a costly process, she reports). Visitors touring the factory assemble in a room where the story of chocolate from tree to plate is pictured in a lengthy wall mural, with Cooning's jungle canopy overhead.

Cooning's latest commission, now in progress, is being funded by Seattle's 1% for the Arts and has her quite excited. This is the first time her work will be produced in metal instead of paper! A 2.2 mile trail has recently been developed that encircles the Jackson Park Golf Course in Seattle's north end. Cooning's leafy designs are being water-jet cut from aluminum to be mounted on a "portal" at the beginning of the trail. She is thoroughly enjoying working out the design for this different medium and interacting with the metal-craftsmen as they transform her ideas into a permanent form.

Schematic of portal design for Jackson Park Golf Course trail portal

Details of several parts of the design

A leaf that's been water-jet cut from aluminum sheet

A metalworker attaches a finished leaf to the armature of the Park portal

For more about Cooning and her artworks, go to http://www.celestecooning.com.

Scotch tape is a Trademark of 3M Co.
Tyvek is a Trademark of DuPont Co.
X-Acto is a Trademark of Elmer's Products, Inc.
Sharpie is a Registered Trademark