Archive for the ‘General’ Category

My First Art Purchase

Tuesday, June 3rd, 2014

First art purchase

In either 1956 or 1957, so aged about 7 or 8, I was given fifteen shillings, 15/-  to spend at the annual school fete, and for the first time I could wander around all on my own and choose what to spend my money on.  That amount of money was probably equivalent to about 5  Saturday afternoons at the movies in those days, so was a very decent amount to spend on baker’s toast, toffee apples, handwork stall items, pin the tail on the donkey and all the other now-old fashioned attractions that raised funds for the Parents and Friends Association of the School.

After I’d checked out all the stalls I went back to the one displaying perhaps 60 or 80, maybe more, enchanting little water colour paintings like this one above, in 15cm x 20cm frames, all priced at 11/6.   I knew I just had to have one, despite that it would take a large chunk of my pocket money; and it took me quite a while to settle on this one which I’ve adored ever since, still in its original frame and glass – which isn’t bad for a little painting that has travelled widely and frequently in the 60 years I’ve owned it….  Apparently the art teachers had gone out and painted all these little landscapes, which were then framed by one of the parents who ran a picture framing gallery – prolly offcuts and glass oddments from his paying jobs – it was a very busy shop.  The subject is  the Western Tiers, up behind Deloraine, Tasmania – a view that was very familiar to me then and which I still find so dramatic today whenever I visit and hurtle along the Bass Highway out that way.  How lovely it was to enjoy it on my  recent visit to Perth,  where I took this picture.

Down the years I have acquired many other pictures, usually jointly with my dearly beloved, and mostly chosen because I/we love them – plus we have inherited several really nice artworks.  This may be the smallest one we have, but for me it will always be very special.

Similarities Inevitable At Times, UPDATED

Sunday, April 27th, 2014

A member of the QuiltArt list this morning referred to ‘Scott Murkin’s technique’,  and I thought  “Hmmm, I wonder what that is….”  (As I don’t get the popular quilt magazines and books these days, its easy to be out of touch with the very latest)  Anyway, it turned out to be freehand or improvisational piecing, anyway!     And when I went online to find out about Scott’s work I found this site,  http://www.scottmurkin.com , and there is a quilt

scott murkin

that looked to me very like an adaptation and re-arrangement of blocks from one of my own bushfire quilts .  They have a great deal in common, I’m sure you’ll agree, but I’m not suggesting that this is in anyway ‘copying’ something I did ages ago:

Bushfire 4 adjusted blog copy

Bushfire 4      1999

 I think it is inevitable that  quilt makers using the same techniques in similar colours, will sometimes produce similar looking works.  We can usually tell looking at someone’s work who they studied with, since, for a while after that workshop their new work reflects what they have learned, but in time their work reflects more of the artist and increasingly less of the teacher.  It’s why I myself no longer attend technique-driven workshops, but they are the bread and butter of the quilt making industry, of course.

“Scott Murkin’s” technique is what I and many others learned nearly 25 years ago from Nancy Crow – not that I ever called it ‘Nancy Crow’s technique’ because for her, technique has only ever been the means to her end – in the classroom it was to speed the process of exploring colour and design, and working through her long list of class exercises was only really possible via cutting and piecing freehand/improvisationally.
But actually, it wasn’t her technique, either.  It was developed by a Canadian quiltmaker, Marilyn Stothers who Nancy used to take into the classes she was teaching at Houston in the late 80’s and early 90’s and have Marilyn show her students how to do it.   Nancy then began teaching it herself as a method useful in her classes on colour and design.  As we all know, today there are many contemporary quilt makers working this way all over the world, and it has become a contemporary quilt making tradition, if you can say such a thing…. and yes, I think we can.

Since learning the basics, I’ve always worked this way, and taught many students how to cut and piece freehand.  I’ve no doubt someone uses “Alison Schwabe’s technique” to describe their own improvisational piecing, but I claim no ownership.  If you’d like to have a go at it, email me for the basic instructions (2 pages incl, diagrams and links)  and I’ll email it by return.  There’s enormous interest in piecing like this.

Last month I taught my “Hot Quilts From Cold Scraps” workshop in Dongara Western Australia, and Hobart Tamsnaia Aus.  I always promote the class as being about planning and making successful scrap quilts, and one in which people who work via traditional geometric piecing will be alongside those who are piecing improvisationally.  In other words, how you piece is up to you, and you just need to come to class knowing how to piece one way or the  other, it’s not a beginners’ class.  I always say I don’t actually teach  freehand piecing in class, as there isn’t usually time even in the 2-day version, and so if you want to work that way you need to learn the basics at home before the workshop.  That usually works well, and one or two people always ask me for those instructions in advance.  In Dongara there were about 20 enthusiasts in the class – fabulous facilities accommodated them easily – and about 1/3 went to work piecing traditionally, the rest improvisationally.  They produced some wonderful work, and everyone achieved plenty of it.    The class in Hobart blew me away though.   I had been a bit concerned at the low number registered, and anticipated the group dynamics might be a bit unexciting among only 7 of them. But not in this case – all had very strong individual approaches and a couple did interesting things no one has previously produced, including myself! Some already knew improvisational piecing, and the 2 or 3 who didn’t clearly did want to work that way.  So once everyone was into their  exercises before branching off in their individual directions, in such a small group it was easy to teach them the basic methods by demonstrations using the samples I had with me.  They were all dead keen and very quick on the uptake. 

Thanks to Pat and Susan who both supplied Marilyn’s correct surname which I’d used wrongly in the first version of this post!  I have corrected and edited the post to include the gracious corrections I received from Marylin herself, whose website http://www.marilynstewartstothers.ca/ presents her and her exciting work in some detail – and I can only say after looking at it that we don’t hear enough of her.

Anzac Day Montevideo 2014

Saturday, April 26th, 2014

We rose early Friday morning to attend the 7am Anzac Day Dawn  Service arranged by the Australia-Uruguay Camera/Chamber, and actually, although we were prompt starting in the cold wind, ‘Dawn’ was prolly technically about 15 minutes earlier.  When John Prentice began with the introduction to the observance, we could look out through the distinctive naval theme sculpture behind him at the Plaza Vigilio, Punta Gorda,  and on the horizon count 14 ships waiting to enter the port,  which equalled the number of attending souls, 14.  Our honorary consul Diego Paysee laid the wreath, and John Shaw, next to John P (in black) later performed the Last Post and the Reveille/Rouse.

Anzac Day MVD  2014  2

The piper, Gonzalo, played stirringly, and in my conversation with him afterwards, he had very complementary words about the Victorian Police Band pipers of years gone by, and one of my own favourites, The Bad Piper whom he described as a highly accomplished technically brilliant piper – and so say all of us!!!! I’m a total fan, by the way.

 Anzac Day MVD  2014  1

At the solemn stage of the observance, yours truly is pictured reading the poem ‘On Flanders Fields’ that I always seem to get roped in to read; I know, it doesn’t look as if I am speaking, but that is just when Graciela took the shot. I got through it all without faltering – phew.

Anzac Day MVD  2014  3

The three young Aussie lads appearing in these two pics, were visiting Montevideo from Newcastle.    I didn’t get their names, but Marianna, the Kiwi holding their flag might have.  Their parents would have been proud of them.   They were due to leave the country a few hours after this, but they found time to come along.  Travel well boys.  It was cold this morning, as I am sure it was in many of the places that Aussies and Kiwis gathered for observances and marches.

Windswept Landscapes -The Falklands, I

Monday, April 7th, 2014

What a visual feast of  landscapes are The Falkland Islands, from where I have just returned to Montevideo after a wonderful week.

Landscapes Falklands

The changeability of the weather during my week there meant there was no going back for another shot when the weather improved, so I have some less than perfect photos, some taken flying through rain, or trying to keep myself and the camera still in the strongly gusting winds.  Travel around the islands is by either 4WD or the Falkland Island Government Air Services small plane, FIGAS, around the outer island settlements.  Service to any place depends on who books to go where on a particular day, but I was told a plane turns up at least every week or so, and in the tourist season probably daily.   Mail comes whenever the plane does, just like in our own Australian Outback.  There are very few roads out past Stanley so to get somewhere you just set out and go in whatever direction you want – so there are track lines all over the place – upper left photo, and more on tracks in a future post.  One of my flights took place on a very calm but overcast morning the upper right view from my seat at the rear of the 10-seater plane shows a sea smooth as a sheet of glass.  Lower left is one of the ‘mountains’ – perhaps 2000′ marked not with snow but lines of light grey stone – they look like rivers, very elegant shapes referred to as ‘stone runs’, and thought to be glacial in origin resulting from millenia of freeze-thaw extremes.  There were large zones of these in many places, and they seem to be unique – Charles Darwin remarked on them, apparently; and they’re very difficult to traverse.  They thrilled me.  And then lower right there is a slice of one of the  beaches I explored.

It seems hard to say what the highlights were – but they include the wonderful people, locals, contractors and tourists I met all over; the dramatic landscapes; and the variety of bird life including various penguins of course.  Or perhaps it was the 24 hours I spent totally alone at The Rookery, a little 4-bed self-catered accomodation unit/cabin on Saunders Is in the far NW of West Falklands, with only the sounds of the really strong winds and passing birds to enjoy.  There was a small hand held 2-way radio (for emergency use only) and an fm radio too, but the British forces station that picked up was total crap  – I heard one  5-minute news session slipped in between largely British 60’s and 70’s music, and really, the silence was far more interesting.

A major part of the economy of the country has long been wool production, and though this is being outstripped by the development of major oil field production there, it is understandable that many of the local craft traditions there are based on wool. (Add in embroidery, leather work and wood crafts including wood turning and burning)   Everywhere I went I asked about textile crafts, and met some interesting people associated with spinning and weaving, felting, knitting and crochet.  From several people I heard about but was not able to actually connect with an American woman in Stanley who inherited a partly finished quilt from her grandmother’s attic in distant USA,  She gathered a few friends to help finish this vintage Bear’s Paw quilt of which I saw a photo.  The flow on effect from that project is that some of these people have started to learn about how to make traditional geometric patchwork and other applique blocks.  There’s a fabric shop there which I didn’t have the time to visit, but apparently people are able to get suitable materials with which to start, and I predict there will be more done there before too long.  Just getting underway is a series of workshops taking place in the outer island settlements as two retired teachers, Myra, a kiwi, and Heather, an Aussie, travel around with the essentials and materials for one-day workshops on about a dozen crafts to teach isolated people their choice of whatever they want to learn from them.  Part of the project’s goal is one of mental health – to help mitigate the isolation and give people things to do in the long winter days and evenings ahead.  Radio, phone and internet (slow) now cover most of the country, but as we all know, nothing beats personal contact and demonstrations by someone with knowhow.

I had a great week and will write more about it in future posts. For now, it’s time to  assemble a web album of photos, the link to which I’ll post when that’s done.

 

 

 

A Journey Through Landscape

Saturday, March 22nd, 2014

An article has just been published about my work on the Quilt National Artists website here: http://quiltnationalartists.com/journey-landscape-alison-schwabe/.  To compose it I looked back through the 4 works I’ve had selected into Quilt National down the years, and while putting them into their context, the title emerged.  Each has to do with landscape as the surface on which change is recorded, and marks are left.  It took me years to see a link between a landscape and a life.  You can read about it and see the pics of the 4 quilts in chronological order down the page, starting with “Ora Banda”, just a little special because it was my first successful entry.

Ora Banda copy blog

“Ora Banda”  1992      127cm h x 150cm w

I pieced it before leaving Denver to accompany my husband to South America on a business trip, and did all the hand quilting while in Montevideo and Mendoza, Argentina.   I never look at it without remembering the beautiful plaza in front of our hotel there, and how I sat out in the early autumn sun for a couple of hours every afternoon to quilt during the hours of siesta.  Autumn leaves were falling.  Occasionally people would stop and ask what I was doing and comment – goodness knows what they made of whatever I said, as I knew very little Spanish then!

 

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