yvr art

June 2022 - Update

June 01, 2022

Grant Project Update - Becoming a Pixel (Portrait 2/5)
Glitch Streak (Work in Progress)
Vancouver Cityscape (Work in Progress)

Grant Project Update - Becoming a Pixel (Portrait 2/5)

*Becoming a Pixel - Portrait 2/5*, 2022, embroidery floss, Aida cloth⁠, 7 x 7 inches, 35 hours of labour

I’m excited to share the completed second portrait from my self-portrait series Becoming a Pixel. This portrait still has some likeness to my self-image, but there is clearly some loss of definition. Without seeing the first portrait from the series it is now harder to identify this as a self-portrait. I intentionally reduced the overall resolution and total pixels in the cross-stitch pattern. By producing in an image with less detail, I’ve made identification of the person in the portrait less certain.

*(Detail) Becoming a Pixel - Portrait 2/5*, 2022, embroidery floss, Aida cloth⁠, 7 x 7 inches

Looking at a small section of the finished piece (as shown below) it is very difficult to recognize the image as a portrait on its own.

Mallory Donen acknowledges the support of the Canada Council for the Arts.

Glitch Streak (Work in Progress)

Mallory Donen with her work in progress *Glitch Streak*. Photo was taken in her studio in Vancouver, BC, 2022.

I’ve also been making consistent progress on this new large-scale cross-stitch piece, Glitch Streak. I’m currently 1/3 of the way complete and it’s about 10 inches wide. When the work is finished I expect it to measure 30 inches wide. I’ve already logged in about 65 hours of labour on this project! Needless to say the further I get on this piece, the more taxing and strenuous it is getting on my body. This is precisely why I’m pacing myself slowly on this project and spending time on others that are less laborious than this one!

Glitch Streak (WIP detail), 2022, embroidery, Aida cloth

Vancouver Cityscape (Work in Progress)

Somehow I managed to carve out time to work on this mixed textiles project in May. It’s been very explorative and playful seeing where this piece takes me. I’ve never attempted something quite like it before. The best way to describe it is probably a hybrid between quilting, embroidery, and textile collage. I’m using a combination of machine and hand sewing, as well as cross-stitching and free-hand embroidery. I’ll also be using yarn to add more texture and dimension. Overall, it’s definitely still a work in progress, but I’m very excited to see where this process takes me!

June 2021 - Update

May 31, 2021

Inside the Studio
Video Sound Archive
Work in Progress - Funded Art Book Project
Open Call for Anonymous Stories - Deadline June 30

Inside the Studio

Last week I took some long overdue portraits in my studio. I wanted to photograph myself amongst my art and some of the tools I use while embroidering/knitting. On the walls you can see works from my thesis exhibition, Glitch Series, and System Failure series. On the floor is Ouroboros (which I like to refer to as my big ball of yarn) and to the left is the wooden French Knitting loom that I use to re-knit finger knitted strands of yarn.

I have two embroidery stands in my studio. The first one has a rectangular frame and currently holds my ongoing work in progress Stitching Loose Ends. The second one functions more like a clamp stand, which means it can hold various types of frames. In the photographs, you can see it is clamping an embroidery hoop for cross-stitching the handkerchief patterns for my art book project. In another photograph, I am sitting in a wingback chair with a granny square afghan and arm rest covers that I crocheted myself (with a little help from my mom for the covers).

Video Sound Archive

Starting on June 4 @pm ET my video project Part 2: What Happens to a Stressed System? will be part of the first season of featured artists for a virtual video exhibition Video Sound Archive.

Work in Progress - Funded Art Book Project

Last month I continued to tirelessly cross-stitch patterns of handkerchief scans for my art book project. I have completed cross-stitching six of the nine patterns. Only three more to go and I should finish them by the end of June! Then I will begin working on the layout of the art book using InDesign.

Open Call for Anonymous Stories - Deadline June 30

Reminder that I will be accepting submissions for stories till the end of June. Everyone is welcome to submit their experience of having to hide their emotional/physical pain in order to avoid pity or shame for being too sensitive. Please also feel free to share!

February 2021 - Update

January 31, 2021

Throughout January I started and completed a series of three small works titled Remnants of the Manmade. I was inspired to get outside and take photographs of architecture after finding an open call for a virtual exhibition. I wanted to make a connection between the masculinity of architecture and the femininity of the handmade. I did this by taking crops of the photographs, pixelating the crops, and converting them into cross-stitch patterns. All that was left were remnants and lines of the buildings from the photographs. Even though the connection to the manmade is still present, it becomes overshadowed by the soft materials of the handmade.

Remnants of the Manmade (1/3)

3 x 4.25 inches, embroidery floss, Aida cloth, 2021

Remnants of the Manmade (2/3)

3 x 4.25 inches, embroidery floss, Aida cloth, 2021

Remnants of the Manmade (3/3)

3 x 4.25 inches, embroidery floss, Aida cloth, 2021

The rest of my time was spent continuing to work on a painting for the Translation Series, doing a bit of research, and testing out the affects of different sized stitches over text. I have a project concept for a typography piece/series, but I don’t want the text to be the first thing you notice about the piece. I want the text to almost be invisible and for the pattern layered over top to act as a mask of sorts. I was so happy with how the test was coming together that I decided to make it a finished piece in the end, which I’m now calling P is for Pain.

I have a few project ideas that are still stirring in this crazy brain of mine and I’m trying my best to let them simmer a bit before I jump right into creating them. It’s important for me to have a clear direction and purpose for my works, as this is something I’ve found challenging in the past.

Pattern I (Back View), canvas, embroidery floss, graphite⁠, 19.5” x 19.5”, 2020 — *Pattern I (Back View)*, canvas, embroidery floss, graphite⁠, 19.5” x 19.5”, 2020

August 2020 - Update

August 01, 2020

This past month I’ve spent most of my time working through ideas and organizing my thoughts. I’m so happy to have found a “groove” again when it comes to working through my thought process. I finally find myself reaching for my sketchbook throughout the day, as my thoughts constantly stir and jump in different directions. Although this headspace can be confusing and scattered at times, it’s home for me. It’s a place of comfort and where I feel most myself.

There’s nothing like the feeling of a creative “high” and I have to admit that I’ve done a few happy dances around my apartment when ideas come to me out of nowhere or when I finally work on that project or task that I’ve been avoiding. I recently looked through all my old sketchbooks and folders on my computer. Looking back at work that I was making while doing my MFA has helped ignite a flame of inspiration within me!

Pattern I (Front View), canvas, acrylic, 19.5” x 19.5”, 2020 — *Pattern I (Front View)*, canvas, acrylic, 19.5” x 19.5”, 2020

With this new found motivation, I’ve prepped another canvas to start the next painting in the Translation Series, which I started back in September while I was at the VSC residency. I’ve also been brainstorming lots of old and new ideas for future projects. Specifically, I’m contemplating a project which I’ll use to apply to Canada Council for the Arts, Research and Creation Grant. This will be my first time applying for a grant, so I’m giving myself plenty of time to prep and work through my ideas. But so far I’m really enjoying the initial process, since this is the part where i get to brainstorm and write down all the projects that have been stewing in my head, or forgot to write down!

Last week I finished reading The Artist’s Guide to Grant Writing, by Gigi Rosenberg, which is a great resource, and all in all another source for inspiration. One important thing I got from reading the book, was something I haven’t done before, I learned that I should be fundraising. Apparently It’s helpful when applying for grants to include fundraising efforts in the budget you submit with your application. No matter how big or small the amount you raise, the jury is always happy to see that you care enough about your project to outsource funding prior to applying for a grant. Once I read this, I knew this was something I should be doing, even if it’s mainly to help make my grant application stronger.

This Monday, I’ll be having my first Flash Art Sale on Instagram! Everything will be priced at either $5 or $10, so it’ll be a sale that’s affordable for everyone.

The purpose of the sale is to fundraise money for my art savings. Funds from my art savings will be used for supplies such as embroidery thread, Aida cloth, paint, etc., and Adobe Creative Suite. I’m hoping to create more book projects in the future, but I don’t currently have InDesign, which is a very necessary tool when making/designing books. So I’m hoping to purchase this application with the money made from the sale and some supplies with the rest.

Please share in your stories to help spread the word!

The sale goes live at 9am, this Monday, August 3rd.

System Failure 01 (Detail), 8x10 inches, embroidery floss, Aida cloth, 2020 — *System Failure 01* (Detail), 8x10 inches, embroidery floss, Aida cloth, 2020

July 2020 - Update

July 06, 2020

This month I’ve made a significant shift in my practice towards a new evolution of work. I’ve decided that it’s time to cut ties with the Glitch Series, as I want to create work that is more focused on the idea and process, rather than the end result or finished piece. Part of the reason for this is that I’ve always been fascinated by processes, patterns, and the physical act of making something.

System Failure 01, 8x10 inches, embroidery floss, Aida cloth, 2020 — *System Failure 01*, 8x10 inches, embroidery floss, Aida cloth, 2020

When I started System Failure 01, my intention was for it to be a continuation of the Glitch Series, however, it evolved into something new. The image used was still sourced from a glitch image, however, this time I intentionally left parts of the cross-stitch unfinished. By doing so, I’ve created a glitch within a glitch. Although the work is made by hand, it’s reminiscent of a digital image that was disrupted, due to a “system failure” and was unable to load properly.

While I was doing my MFA, my thesis advisor Kevin Kelly commented on my work “you really don’t care about aesthetics, do you?”. In the moment, I was caught off guard and was honestly a bit offended by the observation. As an artist, you start out thinking that aesthetics is the most important foundation of art. We learn from a young age that if you can make something aesthetically pleasing, then you have artistic talent. Therefore, I took this comment about my work as a slander to my skills as an artist. I didn’t completely disagree with what he was saying, in the context of the work, however, I still felt conflicted about what it meant to make art that considered aesthetics an afterthought.

Since then, my work has evolved and I’ve further expanded my approach to making art using systemic processes which follow patterns and pre-established rules. I’ve only recently come to the realization that Kevin’s assertion about my work was in fact spot on. My strongest, most focused work is that which does not concern itself with aesthetics. What matters most for my art practice is the processes, patterns, methods, and systems that I use to make art as though I am a machine. By taking aesthetics out of the equation, I distance myself from the creative intent of the work. I generate art using labour intensive repetitive systems which allows me to become more like a machine than an artist, or perhaps an artist machine.

Work in progress, embroidery, Aida cloth, 2020 — *Work in progress*, embroidery, Aida cloth, 2020

So I thought to myself, how do I remove the aesthetics from a work of art? How do I create something that doesn’t exist physically, but instead, focuses on the importance of the process? I’ve been working on a new project with these ideas as the foundation and inspiration for the work. I’m cross-stitching on a regimented basis for a a few minutes every day. Using white embroidery floss on Aida cloth, I’m moving away from creating an aesthetic pattern and instead I’m simply cross-stitching straight lines. I’m also documenting the process using my iPad to capture the daily practice.

I began my daily stitching ritual on the 7th day of my menstrual cycle (once the bleeding stopped) and I will continue with this ritual until the cycle has ended. On the first day of my next cycle, I will proceed to un-stitch the embroidery thread and start the process all over again. Thus, I won’t have a “finished” physical work in the end. The final presentation of the project will be in video format and I will also create an audio component that goes along with it.

The work will continue to explore the idea of artist as machine, as well as woman as a machine. I want to question the definitions of artist, machine, and woman. In my practice, I see each of these things as being connected and often interchangeable to each other.

After reading Donna Haraway’s “Cyborg Manifesto” I became cognizant of the fact that women are machines and reproduction is embedded into their existence. Similar to any machine, women do not have a control over the system/program that they are born with. But what if a woman doesn’t full-fill her program to reproduce? Whether by choice or by circumstance? Which makes me wonder what it means to be a machine or an artist that doesn’t full-fill their pre-established programming? Can you be an artist machine that doesn’t produce work?

Glitch Series 05 - Crop_1-9.jpg, 9.5x9.5 inches, embroidery floss, Aida cloth, 2020 — *Glitch Series 05 - Crop_1-9.jpg*, 9.5x9.5 inches, embroidery floss, Aida cloth, 2020

June 2020 - Update

June 02, 2020

Over the past month, I’ve been working on a variety of projects at once. I started off by stitching together the 9 pieces from Glitch Series 05 into a “quilt”. Overall, I’m very happy with how it turned out and was surprised that everything actually ended being pretty straight/even. The most satisfying thing about quilts is when you iron all the seams, they lay flat, and line up “seamlessly”, as though they were always meant to be stitched together.

(Back View) Glitch Series 05 - Crop_1-9.jpg — (Back View) *Glitch Series 05 - Crop_1-9.jpg*

Next, I stitched more loose ends I had lying around and added them to my ongoing project “Stitching Loose Ends”.

Stitching Loose Ends (progress shot), 2018-2020, embroidery floss, Aida cloth, 16 inches wide x 3 1/4 inches thick — *Stitching Loose Ends* (progress shot), 2018-2020, embroidery floss, Aida cloth, 16 inches wide x 3 1/4 inches thick

Stitching Loose Ends (back view), 2018-2020, embroidery floss, Aida cloth, 16 inches wide x 3 1/4 inches thick — *Stitching Loose Ends* (back view), 2018-2020, embroidery floss, Aida cloth, 16 inches wide x 3 1/4 inches thick

I’ve also been saving smaller odds and ends that are little less useable (for cross-stitching). But I recently had an idea to try and stitch these ends into a recycled handmade paper. I made the paper a fews years ago, while I was still at U of M and almost finished with my MFA. I’ve been experimenting with some free form stitching through the paper and the hardest part for me is the lack of control. Honestly, this doesn’t surprise me though, since I’m slightly obsessed with structure and control. The only way I can find some comfort in the process is to come up with my own rules or goals along the way. For example, I might have a goal to stitch 5x5 squares with cross-stitches. Even though I know it won’t come out like the precise grid that I’m use to stitching on with my other projects, at least I have something to work towards.

After torturing myself with free-form stitching, I couldn’t help but retreat back to my comfort zone. I started Glitch Series 06, but with a slightly different approach than the previous Glitch Series 01-05. This time I’m cross-stitching the full glitch image as a whole piece, instead of segmenting it into 9 different crops, as I usually do. The size/square count is based on the pixel dimensions of a computer screen, which is 1280x800, therefore, Glitch Series 06 will be 128x80 squares.

(Work in progress) Glitch Series 06 — (Work in progress) *Glitch Series 06*

At the end of the month, I pulled out a few skeins of yarn and decided to knit and add onto The Machine: Knitting Ouroboros.

I also started and completed two more hand-stitched paintings for the Paint by Numbers Series, Pattern G and Pattern H.

Pattern G (front view), 2020, acrylic, canvas, embroidery floss, 9.5 x 9.5 inches — *Pattern G* (front view), 2020, acrylic, canvas, embroidery floss, 9.5 x 9.5 inches

Pattern H (front view), 2020, acrylic, canvas, embroidery floss, 9.5 x 9.5 inches — *Pattern H* (front view), 2020, acrylic, canvas, embroidery floss, 9.5 x 9.5 inches

Pattern G (back view), 2020, acrylic, canvas, embroidery floss, 9.5 x 9.5 inches — *Pattern G* (back view), 2020, acrylic, canvas, embroidery floss, 9.5 x 9.5 inches

Pattern H (back view), 2020, acrylic, canvas, embroidery floss, 9.5 x 9.5 inches — *Pattern H* (back view), 2020, acrylic, canvas, embroidery floss, 9.5 x 9.5 inches

Last but not least, I’m currently showing two works from Glitch Series 01 as part of an online exhibition, Threaded II, Envision Art Show, running from June 1-30th. I’m also excited to share that I received an Honorable Mention, which means I’m the fourth artist featured at the beginning of the virtual exhibition. It’s a very strange time for all of us and it’s changing the way we make and view art. I’m glad that something positive has come out of this and I’m so thankful to be a part of an exhibition that showcases fibre artists from all around the world. Please take time to view the work at the link above (title of the show), there is some really amazing work to see and you don’t even need to leave your bed see it!

May 2020 - Update

May 03, 2020

I’ve been quarantined at home for 6 weeks now, due to Covid-19, but I’m still working remotely full-time. Over the past month, I’ve been working on another Glitch Series, Glitch Series 05. When I initially started Glitch Series 01 back in 2017, I had always thought that I would finish the series by stitching them together in quilt-like fashion. However, somewhere along the way, my thought process changed. Thus, I ended up presenting the work as a diptych, showing each digital and cross-stitched image in a double-window matted frame.

Glitch Series 01 - Crop_5.jpg, 16”x20”, archival inkjet print, embroidery floss, Aida cloth, 2017 — *Glitch Series 01 - Crop_5.jpg*, 16”x20”, archival inkjet print, embroidery floss, Aida cloth, 2017

In September, at the Vermont Studio Centre, I started a new body of work titled the Translation Series. Since then, I’ve been contemplating the final presentation of this work and I’m still unsure of how it will look in the end. I recently remembered the cross-stitch quilt idea I had for the Glitch Series and thought this could be the direction to take for this series.

Vermont Studio Center, September 2019 — *Vermont Studio Center*, September 2019

Therefore, I decided I would test this quilt idea with the latest Glitch Series 05, as a sort of maquette. I’m hoping that once I complete this “quilt”, I’ll see whether it is successful or not as a means of presentation for my cross-stitched work. This weekend I finished cross-stitching the 9th piece for Glitch Series 05. The next step will be figuring out how to stitch the grid together. I’m anticipating it will be a process of trial and error, but I’m excited to push myself to try something outside of my comfort zone.

(Work in progress) Glitch Series 05 , 2 1/8” x 2 1/8” (each), embroidery floss, Aida cloth, 2020 — (Work in progress) *Glitch Series 05* , 2 1/8” x 2 1/8” (each), embroidery floss, Aida cloth, 2020

Lastly, here’s another progress shot of Stitching Loose Ends. This is an ongoing piece where I’m cross-stitching loose threads that are leftover from other projects. I’m always looking for ways to reduce waste in my art practice, as well as everyday life.

Stitching Loose Ends (progress shot), 2018-2020, embroidery floss, Aida cloth, 16 inches wide x 2 5/8 inches thick — *Stitching Loose Ends* (progress shot), 2018-2020, embroidery floss, Aida cloth, 16 inches wide x 2 5/8 inches thick

March/April 2020 - Update

March 31, 2020

Hello everyone, I hope you’re all hanging in there! No matter where you’re stuck in quarantine, we’re all in this together! Needless to say, that with the current situation (covid-19) things have definitely been challenging. I’ve been working my day job remotely for the last few weeks and will continue to do so until further notice. I didn’t post last month due to some computer difficulties, so I’m excited to share photos of finished works, which I hope will help bring some joy to your day!

Side note: back in January/February I read a book called “Just Kids” by Patti Smith, which was a biographical love story between herself and Robert Mapplethorpe. I really enjoyed the poetic nature of her writing and the glimpse into their lives as struggling artists in New York City in the 70-80s. If you’re looking for something to read, I would highly recommend it.

Alright, time to switch gears and update you on my art practice! Over the past couple of months, I finished the last two cross-stitched pieces from the Translation Series, which is a series of 9 in total. The next step will be to “translate” each of these cross-stitched pieces into paintings. You may or may not remember that I completed one of these paintings back in September while I was at the Vermont Studio Center Residency.

Translation #8 Paint By Numbers, 2020, acrylic, canvas, embroidery floss, 4 x 4 inches and Translation #8- Cross-Stitch, 2020, embroidery floss, Aida cloth, 6 x 6 inches — *Translation #8 Paint By Numbers,* 2020, acrylic, canvas, embroidery floss, 4 x 4 inches and *Translation #8- Cross-Stitch*, 2020, embroidery floss, Aida cloth, 6 x 6 inches

Translation #9- Paint By Numbers, 2020, acrylic, canvas, embroidery floss, 4 x 4 inches and Translation #9- Cross-Stitch, 2020, embroidery floss, Aida cloth, 6 x 6 inches — *Translation #9- Paint By Numbers,* 2020, acrylic, canvas, embroidery floss, 4 x 4 inches and *Translation #9- Cross-Stitch*, 2020, embroidery floss, Aida cloth, 6 x 6 inches

Translation #1-9- Cross-Stitch, 2019 - 2020, embroidery floss, Aida cloth, 6 x 6 inches each — *Translation #1-9- Cross-Stitch*, 2019 - 2020, embroidery floss, Aida cloth, 6 x 6 inches each

While my computer was out of commission, I focused on finishing another painting from the Paint by Numbers Series. This was another project I worked on while I was in Vermont, but to be honest I don’t enjoy hand-stitching these painting as much as I do cross-stitching. I think it’s because it takes more concentration to push the threaded needle through canvas with paint, rather than through a gridded canvas with holes (cross-stitching).

Pattern F (front view), 2020, canvas, embroidery floss, graphite, 19.5 x 19.5 inches — *Pattern F* (front view), 2020, canvas, embroidery floss, graphite, 19.5 x 19.5 inches

Pattern F (back view), 2020, canvas, embroidery floss, graphite, 19.5 x 19.5 inches — *Pattern F* (back view), 2020, canvas, embroidery floss, graphite, 19.5 x 19.5 inches

Lastly, I’ve finally been spending a more focused effort on a project I started a couple years ago (it’s been a side project). Stitching Loose Ends is a time-based piece that uses up remnants of embroidery thread leftover from old cross-stitch projects. I’m always looking for ways to reduce my waste, whether it’s in my every day life or my art practice. This piece will eventually be shown in a group shown with We Are Pie art collective at the Kariton Gallery in Abbotsford. The show was scheduled to open in July, but I anticipate this will be delayed due to covid-19 closures. As soon as I have an update I’ll let you know when/if the show is re-scheduled.

Until next time, please stay safe and healthy!

Stitching Loose Ends (progress shot), 2018-2020, embroidery floss, Aida cloth, 16 inches wide x 1 3/4 inches thick — *Stitching Loose Ends* (progress shot), 2018-2020, embroidery floss, Aida cloth, 16 inches wide x 1 3/4 inches thick

Vermont Studio Center, Johnson, VT, September 2019 — *Vermont Studio Center*, Johnson, VT, September 2019

Vermont Studio Center - Artist Residency

October 06, 2019

My 1-Month residency at the Vermont Studio Center feels like a dream that I wish I had never woken up from! A soon as I had arrived, I knew that I was going to be part of something spectacular. The creative energy was abundant and buzzing amongst the 55+ artists and writers, as soon as we stepped foot onto the “campus”. We all fed off of this positive vibe and took it as a motivator to be productive in our own unique ways.

Church Studios, Vermont Studio Center, Johnson, VT, September 2019 — *Church Studios*, Vermont Studio Center, Johnson, VT, September 2019

Most of my time in Vermont was spent in my studio, located in Church Studios. The building was newly renovated due to a recent fire. I was extremely happy with my studio space and the beautiful natural light that came with the tall church windows. I immediately went to work and was determined to be productive. What would’ve taken me 2 months to complete back at home (during the spare hours of weekday evenings and weekends), only took me 2 weeks while at the residency. I’m thrilled with the amount of progress I made on this new body of work and I only wish I could’ve stayed at the residency longer!

Photo of the studio before the work began.

On Day 1, I started off by unpacking my paint squares from my Paint by Numbers series. The patterns were pre-planned as I had picked all the squares a couple days before my departure. By doing this I only brought the supplies that were necessary to make the projects I planned to work on during the residency.

Bottom left is the notebook where I sketched out each pattern for the paintings I planned to make while in Vermont.

Each painting stacked and held together with elastic bands.

I pre-planned nine patterns for the Paint by Numbers Series, however, in the end I only ended up finishing three (the two on the left and the middle painting). I ended up splitting time evenly between this series and the Translation Series. — I pre-planned nine patterns for the *Paint by Numbers Series*, however, in the end I only ended up finishing three (the two on the left and the middle painting). I ended up splitting time evenly between this series and the *Translation Series.*

After I finished unpacking, I started off by cross-stitching the first translation,Translation #1, from the Translation Series.

Translation Series paintings pre-planned and laid out on a window sill. — *Translation Series* paintings pre-planned and laid out on a window sill.

Starting to cross-stitch Translation #1 using a Stitch Fiddle pattern on my laptop, created using a scan of the hand-stitched painting. — Starting to cross-stitch *Translation #1* using a Stitch Fiddle pattern on my laptop, created using a scan of the hand-stitched painting.

Detail shot of Translation #1 cross-stitch in progress. — Detail shot of *Translation #1* cross-stitch in progress.

I was thrilled at how quickly I was able to get Translation #1 - Cross-Stitch finished. I figured out that I could get 1/4 complete in a day, which meant that I could complete a cross-stitch this size in 4 days if I put in 6-6.5 hours per day (something I could never do while at home). Before I started the next cross-stitch, I started working on the the first stitched painting, Pattern A.

Translation #1 - Paint By Numbers, 2019, acrylic, canvas, embroidery floss, 4 x 4 inches and Translation #1 - Cross-Stitch, 2019, embroidery floss, Aida cloth, 6 x 6 inches — *Translation #1 - Paint By Numbers,* 2019, acrylic, canvas, embroidery floss, 4 x 4 inches and *Translation #1 - Cross-Stitch*, 2019, embroidery floss, Aida cloth, 6 x 6 inches

Pattern A in progress, back view. — *Pattern A* in progress, back view.

Pattern A in progress, front view. — *Pattern A* in progress, front view.

Once I finished sewing Pattern A, I completed Translation #2 - Paint By Numbers and brought out the iron to get things that were done looking crisp and flat. After these were ironed and scanned, I started prepping the cross-stitch pattern for Translation #2 and planned out the embroidery floss colours.

Everything ironed, sitting on a stool in my studio, before I packed things up and took them to the lounge to be scanned.

Pattern A, 2019, acrylic, canvas, embroidery floss, 9.5 x 9.5 inches — *Pattern A*, 2019, acrylic, canvas, embroidery floss, 9.5 x 9.5 inches

Planning out colours for Translation #2 - Cross-Stitch — Planning out colours for *Translation #2 - Cross-Stitch*

As I continued to cross-stitch, I was starting to realize that I had not packed enough blue and green embroidery floss. I knew I had to buy more, but there wasn’t anywhere in Johnson, VT that sold embroidery floss. An employee from the residency suggested that I post something on the local neighbourhood forum. Within 1-day I was able to source a local resident who was willing to donate a beautiful stash of embroidery floss from her personal collection. She insisted that I take as much as I like, although I still had to restrain myself from taking too much. Afterwards it had started to rain and she kindly gave me a ride back into the main part of town (I had walked 20 min on the way there). I definitely hit the jackpot with this one and I’ll never forget this women’s generous offering!

Amazing stash of embroidery floss donated by a local Johnson, VT resident.

Presenting at “Res Pres”, talking about the Glitch Series. — Presenting at “*Res Pres*”, talking about the *Glitch Series*.

At the end of the first week, I signed up for the Resident Presentations and gave a Pecha Kucha style artist talk (20 slides, 20 seconds each, 7 minutes total). Each week artists and writers shared their work both past and present. It was truly inspirational and insightful to hear everyone talk about their processes and ideas/concepts behind the work they create.

Translation #2 - Cross-Stitch (Detail) — *Translation #2 - Cross-Stitch* (Detail)

Pattern B, work in progress — *Pattern B,* work in progress

During the second week, I worked hard on completing Translation #2 - Cross-Stitch and Pattern B. As I was working on these simultaneously, I also began to think about the next stage of the Translation Series and went to the local art store to buy some supplies. I purchased 2 yards of raw canvas and acrylic gouache paint, which I’d been meaning to get around to trying! I usually only ever paint with acrylic paint and the occasional water colour.

Studio Store, the local art supply store was right across the street from my studio. — *Studio Store*, the local art supply store was right across the street from my studio.

Laying out the 2 yards of raw canvas I purchased, so that I could cut it into 20 x 20 inch squares.

Translation #2 - Cross-Stitch, 2019, embroidery floss, Aida cloth, 6 x 6 inches — *Translation #2 - Cross-Stitch,* 2019, embroidery floss, Aida cloth, 6 x 6 inches

Pattern B (back view), 2019, canvas, embroidery floss, graphite, 9.5 x 9.5 inches — *Pattern B* (back view), 2019, canvas, embroidery floss, graphite, 9.5 x 9.5 inches

Pattern B (front view), 2019, canvas, embroidery floss, graphite, 9.5 x 9.5 inches — *Pattern B* (front view), 2019, canvas, embroidery floss, graphite, 9.5 x 9.5 inches

After cutting up the raw canvas, I stapled a few pieces to the walls of my studio and primed them with gesso. Then I began testing out how I was going to paint by measuring and taping out, as precisely as possible, each square. Once I was comfortable with how the test was going, I moved onto preparing the canvas by measuring and numbering each column and row, which took a lot of concentration and patience. Finally I was ready to paint! During each “round” there were 64 squares exposed at a time, which I calculated to take me an average of 45 mins.

Testing out how to use painter’s tape to paint small 0.5 inch squares one at a time.

Canvas fully prepped with all the columns and rows numbered.

After taping off the canvas, 64 1/2 inch squares were exposed at one time. To the left of the canvas is the cross-stitch pattern I followed to do the painting.

On Thursday, we had our first evening of Open Studios which was an amazing night of walking around to all the studios and seeing the hard work that everyone had created so far. See below for a slideshow of photos from the night.

My Studio

On the weekend, I was feeling a little burnt out from all my hard work and walking around from Open Studios. My friend Lauren and I went for a walk to explore our natural surroundings and take photos (slideshow below). Then in the evening we stayed in, ate junk food, and watched a movie.

The following week, I started to rotate between three different stations in my studio: 1. Sewing Paint Squares, 2. Cross-Stitching, 3. Painting Squares.

I also volunteered to have my saliva swabbed at Lauren’s pop up clinic in her studio. Click here to learn more about her Plasticization Clinic. I filled out a medical form, gave her a swab of my DNA, and she took my photo. Now I’m “in the system” as… — I also volunteered to have my saliva swabbed at Lauren’s pop up clinic in her studio. Click here to learn more about her Plasticization Clinic. I filled out a medical form, gave her a swab of my DNA, and she took my photo. Now I’m “in the system” as part of the archive for her project!

Lauren and I also decided to go for another walk and we finally found “Journey’s End”, a trail that lead to a small waterfall. See slideshow below for photos taken during our nature walk and some other photos of Johnson, VT.

As the residency was starting to come to a close, I worked hard to finish the three works I had in progress. My goal was to finish the cross-stitch, the hand-stitched painting and the small test paintings all in time for the last Open Studio.

Translation #3 - Cross-Stitch, work in progress. — *Translation #3 - Cross-Stitch*, work in progress.

Translation #1 - Gouache Painting, work in progress. — *Translation #1 - Gouache Painting*, work in progress.

Lauren had to leave a couple days early to get back to NY for a class she was teaching, so we decided to revisit a restaurant in a nearby town called Stowe, for some delicious pizza from “Pie-casso” as a little farewell dinner.

The last couple of days I spent wrapping up my projects and working on submissions for various exhibitions and publications.

Translation #1 - Gouache Painting, 2019, gouache, canvas, 10 x 10 inches — *Translation #1 - Gouache Painting*, 2019, gouache, canvas, 10 x 10 inches

Translation #3 - Cross-Stitch, 2019, embroidery floss, Aida cloth, 6 x 6 inches — *Translation #3 - Cross-Stitch*, 2019, embroidery floss, Aida cloth, 6 x 6 inches

Untitled, work in progress — *Untitled*, work in progress

After finishing my projects, I cleaned up my studio and hung all of my finished pieces on the walls for the second round of Open Studios.

Translation #2 - Paint By Numbers, 2019, acrylic, canvas, embroidery floss, 4 x 4 inches and Translation #2 - Cross-Stitch, 2019, embroidery floss, Aida cloth, 6 x 6 inches — *Translation #2 - Paint By Numbers,* 2019, acrylic, canvas, embroidery floss, 4 x 4 inches and *Translation #2 - Cross-Stitch*, 2019, embroidery floss, Aida cloth, 6 x 6 inches

Translation #3- Paint By Numbers, 2019, acrylic, canvas, embroidery floss, 4 x 4 inches and Translation #3 - Cross-Stitch, 2019, embroidery floss, Aida cloth, 6 x 6 inches — *Translation #3- Paint By Numbers,* 2019, acrylic, canvas, embroidery floss, 4 x 4 inches and *Translation #3 - Cross-Stitch*, 2019, embroidery floss, Aida cloth, 6 x 6 inches

Pattern C (front view), 2019, canvas, embroidery floss, graphite, 19.5 x 19.5 inches — *Pattern C* (front view), 2019, canvas, embroidery floss, graphite, 19.5 x 19.5 inches

Pattern B (back view), 2019, canvas, embroidery floss, graphite, 19.5 x 19.5 inches — *Pattern B* (back view), 2019, canvas, embroidery floss, graphite, 19.5 x 19.5 inches

Installation shot, Open Studios, Vermont Studio Center, Johnson, VT, 2019 — *Installation shot*, Open Studios, Vermont Studio Center, Johnson, VT, 2019

Untitled, 2019, gouache, canvas, 2.5 x 2.5 inches (each square) — *Untitled*, 2019, gouache, canvas, 2.5 x 2.5 inches (each square)

Untitled (Left), 2019, gouache, canvas, 2.5 x 2.5 inches (each square), Pattern B (Middle), 2019, canvas, embroidery floss, graphite, 9.5 x 9.5 inches, Pattern A (Right), 2019, canvas, embroidery floss, graphite, 9.5 x 9.5 inches — *Untitled* (Left), 2019, gouache, canvas, 2.5 x 2.5 inches (each square), *Pattern B* (Middle), 2019, canvas, embroidery floss, graphite, 9.5 x 9.5 inches, *Pattern A* (Right), 2019, canvas, embroidery floss, graphite, 9.5 x 9.5 inches

More photos from Open Studios round #2.

The last day of the residency was spent packing and cleaning up the studio, as well as saying goodbye to the space, Johnson, and the wonderful people I met along the way. I hope to return to the Vermont Studio Center someday and I’ll definitely be looking to do other residencies in the near future!

The Machine: Knitting Ouroboros, 2019, yarn, wood, approx. 10ft Wide in Diameter — *The Machine: Knitting Ouroboros*, 2019, yarn, wood, approx. 10ft Wide in Diameter

Solo Exhibition: I Come From a Long Line of Machines

September 02, 2019

Last month was my solo exhibition, I Come From a Long Line of Machines, at the Ranger Station Art Gallery in Harrison, BC. Below are some behind the scenes photos from the installation day. It’s always a physical task to unravel and layout The Machine: Knitting Ouroboros. I never really know how the work will fit a space, even with the right preparation. But I couldn’t be happier with how it all came together in the end. I’ve also included a few photos from the Opening Reception.

This exhibition was the largest showing of my work to date. I will continue to expand upon this body of work and I hope to continue showing in solo and group exhibitions across the country. Below are photos of all the works in the show, including title, year, medium, and dimensions.

The Machine: Knitting Ouroboros, 2019, yarn, wood, approx. 10ft Wide in Diameter

(2) When I Cross-Stitch I Feel Like a Machine: 50 Hours of Self-Love and Self-Reflection (left) & (1) When I Cross-Stitch I Feel Like a Machine: 88 Hours of Self-Love and Self-Reflection (right), 2017, embroidery floss, Aida cloth, 20x20 inches

InstructionTable1.2_v8.jpg (left), InstructionTable2.2_v8.jpg (middle), InstructionTable3.2_v8.jpg (right), 2018, float mounted archival inkjet print, 12x12 inches

Glitch Series 01 - Crop_3.jpg (left), Glitch Series 01 - Crop_7.jpg (middle), Glitch Series 01 - Crop_6.jpg (right), archival inkjet prints, embroidery floss, Aida cloth, 16x20 inches (each)

Glitch Series 01 - Crop_2.jpg (top left), Glitch Series 01 - Crop_8.jpg (top middle), Glitch Series 01 - Crop_4.jpg (top right), Glitch Series 01 - Crop_3.jpg (bottom left), Glitch Series 01 - Crop_1.jpg (bottom middle), Glitch Series 01 - Crop_5.jpg (bottom right), archival inkjet prints, embroidery floss, Aida cloth, 16x20 inches (each)

Glitch Series 04 - Crop_1.jpg (top) & Glitch Series 04- Crop_2.jpg (bottom), inkjet prints, embroidery floss, Aida cloth, 11x14 inches (each)

Glitch Series 03 - Crop_6.jpg, archival inkjet print, embroidery floss, Aida cloth, 18x24 inches