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@ Book and Puppet March 15 – June 7 2025 Loom raising 5-8 Friday March 28 Reception 3-6 p.m. Saturday April 26 This coming week I am going to be hanging a solo exhibition” curated by Arta Brito that brings together my recent work from the past few years, the fiber, painting and ceramic. I was so happy that Arta could see the connection between growing plants to dye recycled fabric and make paints, for example, with making clay and ceramic glazes from local materials. I’m literally going to the earth for my materials, and participating in historical, even ancient forms of making. In a world that is becoming ever more virtual and artificial, I hope people can enjoy the “grounding” of this work when viewing it as much as I felt when making it. The fixed parts of the show will be up by March 15, available for viewing during all of Book & Puppet’s regular hours. There will be a “loom raising” event on Friday March 28, the public is invited to come and help me construct a warp-weighted loom in the gallery! I will demonstrate how I take old bed sheets, clothing etc. and turn them into cord or “t-shirt yarn” that can be used for weaving. I’m going to use the loom and naturally dyed, repurposed fiber to do a weaving on this loom over the course of the exhibition. This show will have the finished 27 foot weaving that I made on the loom I built in the East Stroudsburg University Madelon Powers Gallery for my 2021 solo exhibition there. (See photo below.)  Before I did the warp weighted loom, I used a pin loom to “sketch” in the same naturally dyed, reclaimed fibers I eventually used in the warp-weighted loom. These modules were the models for the large paintings I made-on repurposed, reclaimed fabric of course-that are also in the exhibition. Since the modules are small, they can “dance” around the exhibition space, there are two dozen of them, see if you can find them all!  While dyeing the fabric, I was kind of gob-smacked to learn that some of the pigments that I had been painting with for decades were originally made using leftover dye baths! I took a deep dive into making my own pigments, and paint during my residency at the NCC East 40. I did a series of imaginary landscapes on clay panels I made, where ALL of the colors were paints I had made from pigments I processed. This show will include most of these imaginary landscapes. So for example you can see weavings that include fiber dyed with madder root, and paintings that use paint made from the leftovers of the dye bath used to dye that fiber in the same show. These natural landscapes also include paints made from clay dug from the NCC East 40, and ceramic works made utilizing that same clay. The ceramic works are the most recent, except of course for the weaving that will be performed over the course of the show.
A through-line and progression here are the materials-from the earth-that are used in all the work.
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 When I began working in ceramics all those years ago (the 1970’s!) I can recall being disappointed, first in high school and then in college, at the “lack” of color in the available glazes. We all had our boxes of crayons bursting with color, and even the cheapest mass-produced consumer goods were glaring with color. Even today, consumer goods (even foods) are bursting with artificial color. We inhabit mostly a built environment (how often are you out in nature?) where a cacophony of accidental color prevails. For example, I’m thinking of a very tastefully designed lounge, with all the furnishings and carpets and such color coordinated-inhabited by people sporting all kinds of colors, carrying bags and things with even more crashing colors that were most decidedly not a part of the designer’s scheme. I think we learn to ignore all these clashing colors as some kind of self-defense mechanism.  I have to admit, it could be age. But it could also be looking at lots of great pottery-Bernard Leach, Shoji Hamada, Michael Cardew, Phil Rogers, Matthew Blakey and plenty of works by unknown potters in museums-I’m coming to appreciate the palette of winter. It’s like a palette cleanser for the eyes. For me, the browns aren’t neutral. Some are russet, some cool, some tawny, and these browns are punctuated (some days) with blue sky, and evergreens wearing their dark green winter coats. And when it snows, the blue sky is replaced by white, silver and a range of greys as varied as the browns they cover, to varying extents depending on how much it snowed. Don’t get me wrong, I still love the deep saturated colors of medieval stained glass, for example, but I’m also appreciating the subtle symphony of colors that winter offers.
Even as a child I loved drawing bare trees, fascinated by the spooky dark trunks and branches, the more gnarled the better. But the NCC East 40 is mostly meadow. The mountains, ocean and even forest that I always tended to associate with “nature” just are not there. Much like the winter palette of colors, which I’m enjoying more and more, I’ve come to appreciate the subtlety of the forms of the meadow. Today a new revised reprint of Bernard Leach’s classic tome “A Potter’s Book” arrived. This edition has color versions of most of the pottery examples, and they are very much in keeping with the winter landscape. Right now I’m perfectly content to inhabit the colors of winter.   Interior of the wood kiln at the Stahl's Pottery. You can see where the flame, heat and smoke came up from the 4 fire boxes in the floor; the pottery was put into other plain pots called "saggers" which were stacked floor to ceiling before the kiln was fired. 16 vents in the roof provided a draft to the chimney. I had two main reasons for going to the bi-annual Stahl Potter festival on June 15. One, I found out James Chaney, who I studied with 1978-80, was going to be there and I just had to tell him in person how great his instruction had been, and how I was building on it all these years later. The other of course was to see the historic pottery, and in particular the wood burning kiln. Not long after I met the man who has now been my husband for 25 years, he asked me what kind of architecture I liked best. It’s not a question anyone had asked me before, but my pause was under a minute; Victorian Gothic. What might practitioners of Victorian Gothic such as A. W. Pugin or John Pollard Seddon, for example, possibly have to do with a Pennsylvania Dutch Pottery-or Colonial Revival for that matter? Yes, I know this seems very fractured, but it was the trip to Stahl’s Pottery, and reading the book “Stahl’s Pottery of Powder Valley” that connected the dots. My mother despised all things Victorian and idolized all things colonial, so that adds a family historical twist to this aesthetic conflagration. Let me begin to unpack this aesthetic cacophony. The book has a chapter “Arts and Crafts and the Colonial Revival” and the “Arts and Crafts Movement” was invoked on multiple occasions as I toured the pottery and museum. When I think “Arts and Crafts” I think of 19th century and especially British artists; William Morris and Edward Burne-Jones for example, and if American, maybe Gustav Stickley, not of Colonial American revival. But there are commonalities, and my visit to the Stahl pottery got me thinking about them-and my own heritage. It’s easy to think of any revival, be it Victorian Gothic, Colonial or Arts and Crafts Movement, as an imitation; as something less-than the original. But William Morris, whose designs are still popular, did not simply copy older prototypes-he made new designs for a new age, an age that keenly felt the loss of the individual craftsman in mass-manufacture. (It’s a bit mind-breaking that mass manufacture is overwhelmingly how those of us in the twenty first century have ready access to his designs.) And that was the big epiphany-that these “Historiated” styles, when done right, are new inventions originating out of the needs and circumstances of their own times, not less-than imitations of something that is done and over. The Stahl brothers learned pottery from their Victorian father. In the early twentieth Century they shut down the pottery they inherited/tried to carry on from their father, because they couldn’t compete with mass-manufacture. But they opened their own pottery three decades later because the values of the Arts and Crafts movement begun in the nineteenth century had taken root here, in the twentieth century, and the literal value of the kind of work they had done for their father had multiplied. In the midst of the Great Depression no less, the Stahl bothers opened an old style pottery with wood kiln, what is now the Stahl’s Pottery Historical site https://www.stahlspottery.org. I didn’t see my mom’s fascination with the colonial as more than her personal taste; I didn’t see it as part of a larger historical phenomenon. My mother seldom could use the word “Victorian” without the accompanying adjective “monstrosity.” (I suppose my way of rebelling against my mom was a Victorian aesthetic.) I was missing the through lines, of Arts and Crafts, Colonial Revival and my own aesthetics. The Stahl brothers weren’t imitating the work of previous potters; they were doing their own work. The interesting thing with arts and crafts is that when you do things with your own hands, it’s actually hard not to put yourself into what you’re doing, even if you’re using traditional materials and techniques. And those who pick up those pots, or look at those paintings or wear that hand knitted sweater etc. see that human element, which only becomes more precious the more impersonal products become in our society.  Ewer, made by I.S. Stahl August 26, 1941 on view at the Stahl's Museum |
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March 2025
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