Simple Dorothy Caldwell Workshop I ... She shares a wealth of information about the processes and stories behind these pieces. Back to the Future: Why Does Art Survive? Place is where we are right now. through time and repetition evolve into richly activated surfaces. She references objects she finds on her walks in these remote areas and indigenous art. Dorothy is a Canadian artist and I have not been able to see her work in person much as I would have liked to. I am interested in the landmarks that give a sense of place and how humans mark and visualize the land. If I can presume to speak for Dorothy, based on what I know of her practice, she does collect and use some manmade artifacts but her main focus is on natural landscapes and materials. Create a free website or blog at Textile Dyers and Printers Association. She repeated the process on the Kentucky side (even though to my eye mud on one side of the river is fairly indistinguishable from mud on the other). Here’s one inspired by the Arctic summer, with 24-hour daylight that often leads people to stay up all night in euphoria. Here is a glimpse of some of the gorgeous piles of materials around the room. Did Dorothy Caldwell collect or make intervention with any of the urban aspects of the place? On both these visits she brought Japanese handmade paper, tough enough to hold up in a dye pot, and colored them with natural pigments from plants and earth. 1971, and spent most of 1969 studying in Rome, Italy. The vocabulary for my work is drawn from studying textile traditions and ordinary stitching practices such as darning, mending and patching. When we got to the Indiana side, Dorothy pulled a plastic bag out of her purse and proceeded to collect stuff to memorialize this place. She points out that Australia and Canada are similar nations in many ways:  They’re both huge countries with the great majority of the population clustered on the edges, with vast expanses of sparsely settled, ecologically fragile territory that few people ever get to see. Working with paper and cloth, this workshop examines different kinds of marks including stitching, resist and batik, discharge, drawn and painted marks and more unconventional marks such as burning, piercing, and mending. The stitches are like running stitch, kantha stitch, darning and mending stitches  and she is quoted as being inspired by this Louise Bourgeois quote: “I have always had a fascination with the needle, the magic power of the needle. As I walked through exceptional landscape, collecting and touching became a way of knowing. stitched fabric with wood, stone and other elements. These activities have culminated in a show that has just closed in Peterborough, Ontario, and will soon travel to two other venues in Canada. The early surveyors, of Canada, measured and structured the land mathematically, but in the squares of the grid, they made notations on certain rare plant growth, unusual geological formations, and other points that they were personally drawn to. I spent lots of time returning to this gorgeous wall, trying to absorb it all. Discussions and ideas about art and textile art. In 1990, she represented Canada I admire the further development that Caldwell does in processing this already extensive input work further to make pieces which are so very much her own. She shares a wealth of information about the processes and stories behind these pieces. Dorothy sees the stitch as very important to the mark making seeing it as a dot, a line and a texture. Resource material includes slide “I want to get out into the landscape, experience the land, get to know a place by handling the materials.”  For instance, she hiked barefoot on the delicate tundra to get a feel for the tiny, stunted vegetation. and touching. Oh wow, I love your pieces and can only imagine what the classroom must have looked like! Identifying my own personal landmarks, through gathering, touching, and recording is how I create a sense of place. Cindy, Dorothy would be the perfect addition to your Artful Journey line-up! faculty member at Kent State University in Ohio and was Artist-in-Residence She studied painting and sculpture at I appreciate the story behind the works. Many of Dorothy’s art pieces are large as evidenced in the Cover photograph above. (by Olga Norris). bookbinding techniques will be demonstrated for constructing book forms and primitive symbols, and reflect her love of African textiles. Dorothy Caldwell: Silent Ice/ Deep Patience is an exhibition that engages the senses. Dorothy Caldwell is a textile artist who lives and works in the town of (by Sandy Wagner), The art of fiber / the fiber of art (by Olga Norris), Material and Immaterial (by Eileen Doughty), Found in the International Honor Quilt boxes — Ana Lupas (by Kathleen Loomis), International Honor Quilt project (by Kathleen Loomis), Perfect copies — but are they art? I am interested in the landmarks that give a sense of place and how humans mark and visualize the land. In 1986, YOUR MUSEUM. unconventional marks such as burning, piercing, and mending. There’s the root on the right and the cards in the middle; the silk has been partially twisted into string, and she also collected some bits of rusty metal to round out the display. Each of Dorothy has been traveling to Australia for 20 years on a variety of travel, teaching, study and artist residence programs. I am drawn to cloth that has been repaired, and reconstructed and in that ongoing process encodes time and the richness of lives lived. My work is a map of land and memory. On a day off between workshops we walked over the new pedestrian bridge that spans the Ohio River. Ragged Cloth Cafe, serving Art and Textiles, Kantha stitching with Dorothy Caldwell (by Kathleen Loomis) | Ragged Cloth Cafe, serving Art and Textiles, Jasper Johns Gray: Looking and Seeing (by Clairan Ferrono), Laurie Wohl — Unweavings (by Kathleen Loomis), Have You Ever Wondered Where Your Sewing Machine Came From? the Museum for Textiles, Toronto, and a member of the Ontario Arts Council's Your eyes travel constantly across the surface. ( Log Out /  juror for various arts organizations. in Alberta, and later returned as a visiting artist. Dorothy asked one of the locals how they dealt with not being able to distinguish between “day” and “night” and was both chagrined and charmed at the response:  “When we’re tired we go to sleep.”, Dorothy Caldwell, How Do We Know It’s Night, 120 x 114″. Create a free website or blog at I was thinking about how one would do that with her methods: such as leaving pieces of paper on the ground to be walked on or driven over. YOUR COUNTRY. Change ), You are commenting using your Twitter account. Many of Dorothy’s art pieces are large as evidenced in the Cover photograph above. talks, examples, and videos. Change ), Research: Dorothy Caldwell Textile Artist, Part 5 Project 3 Experimenting and Taking Risks, Research – additions to Sally Blake and Dorothy Caldwell research notes | oceanbluetextiles, Research – additions to Sally Blake and Dorothy Caldwell research notes, Written Reflection – New Textile Capsule Collection, Revised New Capsule Collection – Part Five, Revised 5.3 part 2 – Hand Stitched Samples. This beautiful red and black piece was a gift from Dorothy's Australian students. It was amazing how much variety came out even when all we did was make a single mark on the page. Decades of interest in ecology and concern about what humans are doing to the earth seems increasingly to have led several artists to this kind of close attention to natural dyeing and mark making with found objects. We did, however, agree not to post each other's finished work. she was awarded an architectural commission for the lobby of the Fine Arts Dorothy Caldwell is a textile artist who lives and works in the town of Hastings, near Peterborough, Ontario. Both are rich in resources. 20.09.2017 - Dorothy Caldwell, a post from the blog Judy's Journal on Bloglovin’ Change ), You are commenting using your Google account. ( Log Out /  Here’s the root, the silk, and the card, out to dry in the sun (and the footprint/dye pot). Then she made a new set of works reflecting her experiences. Her work consists primarily of abstract textile based wall hangings that utilize techniques such as wax-resist, discharge dyeing, stitching, mark-making, and appliqu é. With the base complete she hangs the piece on the wall and continues by adding appliqué, stitching, and drawing with thread. ( Log Out /  In fact, the biggest insight I got from spending a week as Dorothy’s hostess was the realization that I could use her modus operandi in understanding my own urban landscape (and in fact I am using some of her methods already, but I had not defined my work in that way). By the end of the week she had assembled a “museum” in her room of her trip to Ohio, Kentucky and Indiana.