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grecolaborativo

enjoying the process

Archive

Apr
24th
Wed
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Found while researching/thinking about uniforms, garments, costumes. The one on the left reminds me of a prototype cocoon-like piece we created while designing Adaptalimbs.

(Source: femkeagema.nl)

Mar
5th
Tue
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Boro Textile (Japan)

(Source: srithreads.com)

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Happenstance

Boro textiles are usually sewn from nineteenth and early twentieth century rags and patches of indigo dyed cotton.  The diversity of patches on any given piece is a veritable encyclopedia of hand loomed cotton indigo from old Japan. In most cases, the beautiful arrangement of patches and mending stitches is borne of necessity and happenstance, and was not planned by the maker.

Jan
17th
Thu
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WIP - Our beautiful consumption.

WIP - Our beautiful consumption.

Jan
13th
Sun
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Girl Patient: Drawing to 3D Sculpture
Years ago my eight year old drew a girl patient. Perhaps at that time, the kids were playing with my sister-in-law who is a doctor. I offered my daughter to make the doll for her so she could actually play doctor with it. Fast forward six years of busy making. That drawing always stayed with me and I finally turned it into my promise. Now my daughter is fourteen but even though she doesn’t play with dolls anymore, she helped me design the real doll.
Girl Patient: needle and tread, scissors, scalpel, glasses, mask, bandaids
recycled materials, original drawing by eight-year-old girl
Addendum: Girl Patient has guts and heart. The idea was to be able to remove organs and stitch the patient open and closed during “surgery”. The organs are not in the original drawings, but were imagined by us.

Girl Patient: Drawing to 3D Sculpture

Years ago my eight year old drew a girl patient. Perhaps at that time, the kids were playing with my sister-in-law who is a doctor. I offered my daughter to make the doll for her so she could actually play doctor with it. Fast forward six years of busy making. That drawing always stayed with me and I finally turned it into my promise. Now my daughter is fourteen but even though she doesn’t play with dolls anymore, she helped me design the real doll.

Girl Patientneedle and tread, scissors, scalpel, glasses, mask, bandaids

recycled materials, original drawing by eight-year-old girl

Addendum: Girl Patient has guts and heart. The idea was to be able to remove organs and stitch the patient open and closed during “surgery”. The organs are not in the original drawings, but were imagined by us.

Jan
7th
Mon
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Girl Patient (wip) 
The Process As I hand stitch a new piece I’m working on, I have time to think about the end result, and how every single stitch can determine the shape of the piece if I only veer a little from the set pattern. I appreciate the flexibility that hand stitching gives me and overall, I enjoy the time it takes me to put a piece together. Even if I’m impatient to see the final result, I can look back and remember the process in every work I’ve done, the thinking and analyzing, the measuring and dreaming the outcome, the expectations and standards that I set for myself.

Girl Patient (wip) 

The Process

As I hand stitch a new piece I’m working on, I have time to think about the end result, and how every single stitch can determine the shape of the piece if I only veer a little from the set pattern. I appreciate the flexibility that hand stitching gives me and overall, I enjoy the time it takes me to put a piece together. Even if I’m impatient to see the final result, I can look back and remember the process in every work I’ve done, the thinking and analyzing, the measuring and dreaming the outcome, the expectations and standards that I set for myself.

Jan
1st
Tue
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Hand sewn Glasses 

Hand sewn Glasses 

Dec
29th
Sat
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Dec
11th
Tue
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our friends…don’t want fancy, they don’t need elaborate, and they dislike pretentious. Our friends want us to be ourselves, to be real, to be vulnerable: and if that means a simple spaghetti bolognese, roast chicken, or dahl, prepared with love by us, they’ll love it, and they’ll love us more for making it
Ordinary Cooking Takes Courage by Jonathan Kahn
Dec
9th
Sun
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Interview with Leah Rosenberg via In the Make: Studio Visits with West Coast Artists
“I am interested in philosophies around generosity and gift giving, perhaps because of the inherent impossibility of generosity and the failures that prevail in attempts to make artwork with the intention of generosity.
As I continued to bring cakes to class, I paid attention to the response. I started to think about what cake does and if painting can do that— can a painting be generous? I was also thinking a lot about the different aspects of consumption involved with cake and painting. With cake there is an end— it gets eaten or it rots. There is no end to a painting. It hangs on the wall for constant judgment.
…my conception of existence— that we are made up of concretions and layers of experiences: sorrows, joys, pains, loves, fears, hopes. All of these come together in my work, in a record of personal experience that is intended for all to share even though much of it remains hidden, sealed within the process of its own making. I apply incremental layers of paint as part of my daily routine: as I go to or return from work, or in the moments between making dinner and eating it, or before going to bed. I used to have a process of selecting colors based on personal systems, sometimes referring to the text of a book that I am reading or the lyrics of a song, reflecting shared meals, or bits of conversations overheard. Now, the process of selecting colors has become more of a personal exercise that relies on intuition, rather than referencing anything in particular. The stripes and the layers in my work are a kind of calendar: a registration of time and effort, an index of days and experience, rather than a full-blown autobiography.
What are your biggest challenges to creating art and how do you deal with them? How do you navigate the art world?Time and confidence. The art world can get so competitive, so I try to remember that there is room for everyone. I stay working, and let people know that I’m working on stuff.
What are you most proud of?Tough question. I guess I am proud when I accomplish something. When I realize I am making something that I have been thinking about for a while and I then find a way to put it out in the world.
What do you want your work to do?
To engage people. Make them happy. For it to continuously feed them in a way, I guess. And that I learn something new in the process of me making it.”

Interview with Leah Rosenberg via In the Make: Studio Visits with West Coast Artists

“I am interested in philosophies around generosity and gift giving, perhaps because of the inherent impossibility of generosity and the failures that prevail in attempts to make artwork with the intention of generosity.

As I continued to bring cakes to class, I paid attention to the response. I started to think about what cake does and if painting can do that— can a painting be generous? I was also thinking a lot about the different aspects of consumption involved with cake and painting. With cake there is an end— it gets eaten or it rots. There is no end to a painting. It hangs on the wall for constant judgment.

…my conception of existence— that we are made up of concretions and layers of experiences: sorrows, joys, pains, loves, fears, hopes. All of these come together in my work, in a record of personal experience that is intended for all to share even though much of it remains hidden, sealed within the process of its own making. I apply incremental layers of paint as part of my daily routine: as I go to or return from work, or in the moments between making dinner and eating it, or before going to bed. I used to have a process of selecting colors based on personal systems, sometimes referring to the text of a book that I am reading or the lyrics of a song, reflecting shared meals, or bits of conversations overheard. Now, the process of selecting colors has become more of a personal exercise that relies on intuition, rather than referencing anything in particular. The stripes and the layers in my work are a kind of calendar: a registration of time and effort, an index of days and experience, rather than a full-blown autobiography.

What are your biggest challenges to creating art and how do you deal with them? How do you navigate the art world?
Time and confidence. The art world can get so competitive, so I try to remember that there is room for everyone. I stay working, and let people know that I’m working on stuff.

What are you most proud of?
Tough question. I guess I am proud when I accomplish something. When I realize I am making something that I have been thinking about for a while and I then find a way to put it out in the world.

What do you want your work to do?

To engage people. Make them happy. For it to continuously feed them in a way, I guess. And that I learn something new in the process of me making it.”