Interview 2

So, yes, I’m back

cheryldineenferrin — Thu, 01 Jul 2010 22:06:18 +0000

Cheryl's NEW walking brace for her dislocated/broken/torn poor old knee.

Hi,
Glad to be back. I have been laid-up for a brief period recuperating from a motorcycle mishap. We are referring to it now as “the incident”. I would not normally show off my legs to just anyone, but since it’s just you and me . . . here is the new hardware that I am sporting while my knee heals up.
I am about a month away from starting any physical therapy but I am feeling well and want to get back in the studio and finish 30 or 40 works that I have started. I know, patience. And here for a rare appearance in my blog is my studio cat, Honey Bee. She is a good companion, very low maintenance.
I have shipped a couple of works off to be exhibited with the Fiber Artists Coalition at Circle of Arts Gallery in lovely Charlevoix, Michigan. Charlevoix is in the very northern part of Michigan’s lower peninsula, not too far from Traverse City. The exhibit runs from July 17th to September 19th, so if you are in the area be sure to check it out.
I have been working with a friend on some traditional quilts that we will donate to Binky Patrol for distribution to homeless shelters, crisis centers and local missions. It may seem strange to make these donations during the summer months but, last night it was about 45 degrees here. People who need assistance are still cold.
Thanks to everyone who provided words of encouragement and wishes for a speedy recovery. All that good vibe is working. More later. I promise, it will get more interesting.

The Reinvention Conference

cheryldineenferrin — Wed, 24 Mar 2010 17:02:58 +0000

I just got back from a joint conference of the Surface Design Association and Studio Art Quilt Associates. I am a member of both organizations. While this was not the first professional conference for artists I had attended, I thought it was the most useful. Rather than focus on techniques or professional development the focus of the conference was very much about identity. How does fiber art and the art quilt fit into the art world today.
I stopped asking myself why I wanted to work in fiber, as opposed to paint, a long time ago. For me the tactile and manipulative qualities of fabric perfectly mesh with my desire to create innovative and interesting works of art. I did, however, start asking myself “to what extent do I allow public perceptions of fiber artists and art quilts to influence my creative decisions?” There were many interesting speakers at the conference and I know I will be mulling over their comments for some time to come.

Lacey Jane Roberts, Dropping Stitches. (Detail) Hand-knit yarn. 10ft x 20ft. 2002.

Lacey Jane Roberts was one of the participants in a panel of emerging artists. Her work reflects her love for, and understanding of, the power of the word. She’s an interesting and motivating speaker who seems to have a solid bead on the art world. If you would like to see more of her work, please visit her website at
www.laceyjaneroberts.com
I thought LJ’s tools for working were just hilarious. She creates these knitted forms, not just with regular knitting needles, but with kids crank-style knitting machines – in particular, a lovely sparkly Barbie knitting machine. I thought I had seen every thing in knitting machines . . . how did I miss that? Here are a couple more great works by LJ. I just could not stop laughing at Armed and Dangerous. Hope you enjoy them too.

We couldn’t get in. We couldn’t get out. Detail. Installed in Clarion Alley, San Francisco, California. Detail. Hand-woven wire, crank-knit yarn, steel poles, assorted hardware. 10’ x20’. 2006-2007

Saturday Open Studio

cheryldineenferrin — Tue, 16 Feb 2010 17:24:08 +0000

Hi everyone,
Thank you to all of you who were able to drop by my studio last Saturday. The afternoon was great fun. Also, special thanks to the Log Cabin Quilters and my friend Cindy for the lovely flowers. (I have deftly managed to position them so they are not subject to cat attack.)

This is the quilt that Joyce and I put together. This picture was taken after the Open Studio guests had finished the quilting.

Among the guests were a number of traditional quilters, a couple of art quilters – also members of Studio Art Quilt Associates, Bill Lyth, a potter from Minnesota, and many friends. Everyone took turns using my professional quilting machine to pitch in to finish a quilt I am donating to one of my favorite charities, Binky Patrol. Yes, it is a funny name but they do great work in our local area. Binky Patrol supporters donate handmade quilts, blankets, hats and mittens for distribution to local homeless and crisis shelters, hospitals and missions.
I was fortunate enough to work with a friend – Joyce – on assembling the top for this donation quilt. It was such fun, we hope to continue to work together on bed quilts that we can donate to charity.

Motorcyclist Portrait Project: the Librarian

I also had the very beginnings of the portrait of Laura on display – the next work in my Motorcyclist Portrait Project series. I’m hoping to finish Laura a.k.a. “the Librarian” this week. Have a good one and I’ll check in with you later!
Cheryl

New Portraits coming together

cheryldineenferrin — Fri, 22 Jan 2010 14:29:37 +0000

Portrait of Brigid

Motorcyclist Portrait Project: the Librarian

Here are the final sketches for my next two works. I am working on them simultaneously. The dual processing has always presented challenges for me — I had difficulties keeping pieces for one work separate from the other. It was like throwing two 1000 piece puzzles together in one box and shaking it up before you tried to build them. Thanks to a revised coding system I should be able to manage two — or more works in the production stage.
The Librarian is Laura, a motorcyclist who was kind enough to model for me a while back during the International Quilt Festival in Chicago. As she stood at ease with one foot on her helmet and holding her gloves like a gauntlet, it struck me that she had adopted the perfect pose. This conquerors’ stance was something that was natural for her. While my original sketches showed her entire body, it quickly became apparent that a full body portrait, in the conquerors’ pose, detracted from the quiet grace of this young woman. With a few revisions, I got to what I believe is just the right amount of challenge and determination in her portrait.
Brigid is a young Chicago-area woman. I was struck by her calm and centered demeanor. It seemed the perfect homage to her youth to present her at ease, unconcerned about the hair falling in her face, as she contemplates her future.

What kind of opportunity is knocking?

cheryldineenferrin — Mon, 11 Jan 2010 14:21:01 +0000

Maria Elena Kravetz, the owner of a reputable gallery in Cordoba, Argentina, contacted me to see if I was interested in showing my work with her gallery at International Sculpture Objects & Functional Art Fair, SOFA West, Santa Fe, New Mexico. Now, an opportunity of this magnitude does not normally drop on my doorstep, so I thought it would be worth pursuing.
Ms. Kravetz said she had reviewed my work on my Web site and thought it would do well at SOFA. As I knew her gallery had been exhibiting at SOFA Chicago since 2000, I felt confident that she knew what she was talking about. (OK, and just a little flattered for having my artwork recognized. That gallery has such good taste in artists.)
Ms. Kravetz said, that in exchange for a co-op arrangement, she would reduce her commission on my works sold during the exhibit. Then came the fees, terms and conditions via e-mail. I know that participation in high-end shows is quite pricey. A show like SOFA can command higher fees from galleries when its management gathers 31,000 collectors to view the represented artworks.
I suspected Kravetz might request co-op dollars. In the past, I have partnered with smaller galleries which have asked me to share promotional costs to raise public awareness of my name and this, in fact, was the case with Kravetz.
The Maria Elena Kravetz Gallery proposed I pay $4,500 to have two of my pieces on display for three days (on a six-foot wall space) at SOFA West in Santa Fe and another $1,000 to have an image of my work printed in the SOFA West catalog under their Kravetz Gallery banner. As part of the arrangement, I would also be responsible for all shipping charges and, presumably, my travel expenses. For the fees listed above, they agreed to charge me a discounted commission of 30% on any sales of my works. I was not prepared for the sticker shock. And it got me thinking: is it standard for galleries to ask artists to pay-to-play?
Corey Hampson, Sales Director for Habatat Galleries in Royal Oak, Michigan, helped me put this proposal in perspective
I2: Corey, how do you pick the artists that Habatat Galleries takes to an exhibit like SOFA Chicago?
CH: That’s a very good question. Some artists we bring every year as we have, or are, developing a relationship with them . . . we represent 100 artists from 17 different countries. We select seven artists to go each year with us and then another seven are invited based on feedback from collectors or who is making waves in the market.
I2: “Making waves”?

Josepha Gash-Muche, Coburger Glaspreis artwork

CH: Yes, for example, Josepha Gash-Muche, (pronounced gash-mooka), from Germany, won the First Prize in the Coburg Glass Prize in 2006. This is a big deal, the Coburg Prize is not awarded every year. The Corning Museum was collecting one of her pieces and we heard about it. We invited her to send a couple pieces [to the gallery] that sold immediately, so we took her to [SOFA] Chicago.
[Prior to the 2006 awards, 20 years had passed since the last Coburg Glass Prize. The aim of the Coburg Glass Prize is to give an overview of contemporary glass in Europe. This competition is recognized world-wide as one of the most important competitions for glass.]
I2: Is it “standard” for galleries to ask artists to pay to be represented at an event like SOFA?
CH: That’s an interesting concept…but no, it’s not the standard to ask artists to pay. I know that for us, Heller [Heller Gallery, New York], Holsten [Holsten Galleries, Stockbridge Massachusetts], and Ken Saunders [Ken Saunders Gallery, Chicago], and many others, the gallery pays the artists’ way.
SOFA is unbelievably expensive. It costs $90 just for one light in your booth. We are considering participating in other exhibits like Art Palm Beach in West Palm Beach, Florida and a new show in the Hamptons. Galleries are trying to get an alliance together to get a venue that is a little less costly — our own satellite venues at these high-priced exhibits. This is the future of contemporary glass. Exhibitions can run dry — especially if you are out in the middle of nowhere — but we can really promote the artist when 20,000 collectors, or people interested in art, are attending.
I2: So, how did you do at SOFA this year?
CH: This was our second year in a row of record sales.

If “pay-to-play” is not standard practice, I wondered what the perspective of the SOFA management would be on this proposal? Do they know about this? They offer an elite group of exhibits here in the US. Is this what they want to happen?
Mark Lyman, President of The Art Fair Company, Inc., who produces SOFA New York, Chicago and Santa Fe, had this to say:

“Just to set the official record straight: We have never asked or encouraged any gallery to essentially sublease space in their SOFA booth to any artists. It is not the business model we are interested in supporting. Our dedication is to the galleries who support their artists by giving them shows in their galleries or at art fairs and take the risk of doing so. The financial arrangement between the gallery and their artists is generally one where the sales of the works sold are equally divided, or, in some cases where the gallery dealer purchases a body of work from an artist outright to present. Any variation from this practice generally ends up being self-correcting, as most artists of merit are loath to “pay to play”. It generally indicates a very short term relationship.”

That pretty much says it all, doesn’t it?
Another artist with whom I discussed this situation said: “I know how hard it is to market yourself, but we just [have to] get out there! Have faith in yourself . . . and keep creating.” “Good for you, for not being (literally) bought and sold, and exposing this situation.”
The sad part is, that the offer to show my artwork at SOFA is the most exciting promotional opportunity I have ever had. Representation at SOFA is a crowning jewel. Since, however, I do strive to be “an artist of merit,” you will not see my work in the Maria Elena Kravetz Gallery at SOFA West under these terms. But do stop by my Web site, I’ll keep posting images of new works for all to enjoy.

Follow-up — a copy of my response to Maria Elena Kravetz Gallery:

Dear Ms. Kravetz,
Thank you for thinking of me, as you consider the artists to take with you to SOFA West, Santa Fe.
I carefully reviewed the information contained in your last e-mail. While I would appreciate the opportunity to partner with a gallery that has such a fine reputation in the art world, as yours does, I am interested in developing a long-term relationship with a gallery as a business partner — under a standard artist representation agreement. The terms and fees you proposed for representation by your gallery, at SOFA West, reflect a non-standard business model for this relationship. I feel that accepting this proposal would not be in my best interests.
Again, thank you for your feedback on my work. I wish you continued success in your participation with SOFA and in your other endeavors.
Sincerely,
Cheryl Dineen Ferrin

Happy New Year!

cheryldineenferrin — Sat, 02 Jan 2010 21:21:47 +0000

Hope everyone has been enjoying fine weather, health and the joys of the season. Here in Michigan we have about 6 inches of snow-not much by our standards-and about 20 degrees.I spent much of last week in the Chicago area with family and learning the finer points of snow-resist dyeing of fabric. I see this in my future for a couple projects that I have on the books.
Many of you may recall that this time last year I was implementing quality and process control strategies in my studio. It has been an exciting year that has led to many improvements and much better business practices for me. I suppose that is the silver lining of an economic downturn. For, while I had very little custom business to complete during the year, I had extensive opportunities to work on my speculative art work and implement process management. I do not believe it too dramatic to say that it has changed my life. I am still struggling with a few of the parts of the implementation, but overall it has been a wonderful and successful year of quality.

What is an artist to do?

cheryldineenferrin — Tue, 08 Dec 2009 14:22:27 +0000

I ask ya, what is an artist to do when the bottom drops out of the art market? I do have skills that are easily applied to other projects, it’s true. So, now I am putting those skills to a bit more commercially viable use. In addition to completing some works in my Motorcyclist Portrait Project series and working on creating a new series of Elements works, I have been taking in sewing and quilting for others. Now, actually officially in January, I am doing some consulting for an arts organization, Studio Art Quilt Associates, Inc. I will still be working full time in my studio, I’ll just be working more. I’m OK with that: I like the feeling of accomplishing things.

The Blackbird Exhibit

cheryldineenferrin — Sun, 20 Sep 2009 19:02:15 +0000

Today I am working on my pieces for the exhibit sponsored by the Fiber Artists Coalition. www.fiberartistscoalition.com
The group of fourteen artists proposed a traveling exhibit inspired by a Wallace Stevens poem. As soon as I read VII, I knew what my composition would be. In 1998, not long after we moved to Michigan and ages before those fun little iPod ads, my dear husband took a rather unflattering Polaroid of me cleaning the kitchen. Uh, yeah. I wasn’t having any of that at the moment so I confiscated the Polaroid, grabbed a black Sharpie and proceeded to completely blacken my image. I was intrigued by the abstract nature of the silhouette but not interested in maintaining the hyper-realism of the background. As with many things, I needed to give myself time (11 years?) and opportunity to realize the direction of the artwork. There is a “glow” around the figures which is yet to come. The works are created from my hand-dyed silks and a black commercially-dyed silk noil (raw silk).
The first venue for the exhibit will be the Gov. French Gallery in Belleville, Illinois. This is a lovely gallery. Regrettably, I am unable to attend the opening as it conflicts with SOFA (Sculpture Objects Functional Art) Chicago in early November. Here are the works – currently under construction – that I am sending to the exhibit and the poem that inspired them.

Cheryl Dineen Ferrin, Blackbirds at Her Feet, diptych each 45x36 inches

Thirteen Ways of Looking at a Blackbird
Wallace Stevens
I
Among twenty snowy mountains,
The only moving thing
Was the eye of the blackbird.
II
I was of three minds,
Like a tree
In which there are three blackbirds.
III
The blackbird whirled in the autumn winds.
It was a small part of the pantomime.
IV
A man and a woman
Are one.
A man and a woman and a blackbird
Are one.
V
I do not know which to prefer,
The beauty of inflections
Or the beauty of innuendoes,
The blackbird whistling
Or just after.
VI
Icicles filled the long window
With barbaric glass.
The shadow of the blackbird
Crossed it, to and fro.
The mood
Traced in the shadow
An indecipherable cause.
VII
O thin men of Haddam,
Why do you imagine golden birds?
Do you not see how the blackbird
Walks around the feet
Of the women about you?
VIII
I know noble accents
And lucid, inescapable rhythms;
But I know, too,
That the blackbird is involved
In what I know.
IX
When the blackbird flew out of sight,
It marked the edge
Of one of many circles.
X
At the sight of blackbirds
Flying in a green light,
Even the bawds of euphony
Would cry out sharply.
XI
He rode over Connecticut
In a glass coach.
Once, a fear pierced him,
In that he mistook
The shadow of his equipage
For blackbirds.
XII
The river is moving.
The blackbird must be flying.
XIII
It was evening all afternoon.
It was snowing
And it was going to snow.
The blackbird sat
In the cedar-limbs.

Art and public service in Michigan . . .

cheryldineenferrin — Thu, 17 Sep 2009 20:00:36 +0000

Argh!
Due to the inaction of the Michigan House Judiciary Committee, as of September 11th, the closure of the Department of History, Arts and Libraries became official. That means that the body that funds the arts-when there is money-the Michigan Council for Arts and Cultural Affairs, will be transferred from the Department of History, Arts and Libraries to the Michigan Strategic Fund (MSF) within the Michigan Economic Development Corporation. In her infinite wisdom, Governor Granholm placed the state arts council within the MSF because she sees a direct link between strong cultural communities, increased economic development and the jobs created by both agencies. Early this morning, the final conferees were named to the General Government Conference Committee – the bill which will carry the MCACA budget. The conferees include: Senator John Pappageorge (R-Troy) Senator Mark Jansen (R-Grand Rapids) Senator Deborah Cherry (D-Burton) Representative Fred Durhal, Jr. (D-Detroit) Representative George Cushingberry, Jr. (D-Detroit) Representative Bill Rogers (R-Brighton)
I contacted the General Government Conference Committee to urge them to consider the continued support of the MCACA, as it cannot continue to contribute fully to this state’s revitalization if it is paralyzed by severely limited funding.
Apparently, the Chairman of the committee is the only one who realizes the true impact of his position. He sent me a direct and personal reply that he would take my position under advisement. And here is the problem: The other members of the General Government Conference Committee-who actually replied- sent me a response that said: “I put an emphasis on responding to those constituents within [my] district….Should you reside outside of [my] district, I will be happy to refer your correspondence to the proper office.”
or
“please be aware that legislative courtesy requires me to refer individuals from outside my legislative district to the appropriate Representative.”
These guys just don’t get it. The “proper office”? The “appropriate Representative”? The appropriate representative is the person sitting on that Committee who is participating in decisions that are affecting me and everyone else in the state. Whether I had a hand in electing them or not, they are representing me. I wonder if they return any campaign contributions that come from organizations or groups headquartered outside of their district?
As I said, ARGH! I need to go meditate my frustrations away…

Holy Moley-where have I been?

cheryldineenferrin — Mon, 31 Aug 2009 14:32:06 +0000

Wow, did I really go an entire month without a post here? And still no interview this month? Humm, I have been having way too much fun this summer. I was fortunate enough to have “the nieces” visit this month. We went to the Michigan Fiber Festival and the kids learned rigid heddle weaving. They had a blast and I did too. It was great to see them so excited about creating something themselves.

Madi weaving her belt, Aug. 2009

[caption id="attachment_231" align="aligncenter" width="108" caption="Mack weaving her belt, Aug. 2009"][/caption]