crossstitch

December 2021 - Update

November 30, 2021

ArtRich 2021 Exhibition at Richmond Art Gallery
Uncanny Cross-Stitch
Stitching, Unstitching (working title)
Embroidery floss organization
Stitching Loose Ends (ongoing work in progress)

ArtRich 2021 - December 3 – December 31

Richmond Art Gallery
7700 Minoru Gate

Opening Reception: Dec. 3, 6pm-9pm
Timed entry for the Opening Reception for ArtRich 2021. Visitors welcome to view the exhibit in 45-minute time slots. Register on EventBrite.

Richmond Art Gallery is delighted once again to partner with the Richmond Arts Coalition (RAC) for the fourth bi-annual, juried exhibition. The exhibition celebrates local talent by providing an opportunity for emerging and established artists from Richmond and nearby communities.

Gallery viewers will be able to participate in the People’s Choice Awards. Results will be announced in Richmond News early January 2022.

In a partnership with the City of Richmond, three ArtRich-selected artists will be featured in a public art exhibition for the No.3 Road Art Columns from February 1 to July 31 in 2022.

*Uncanny Cross-Stitch (1)*, 7 x 5.5 inches, embroidery floss, Aida cloth, 2021

Uncanny Cross-Stitch (1) is the first of a new series that was inspired by some of the digital art work I made while I was studying my MFA back in 2016. The reference images I used to create the cross-stitch patterns were multilayered digital imagery that I created using Photoshop. The source images used for these digital works were photographs of architecture and mundane industrial objects/structures such as fire hydrants, lamps posts, windows, and more! I’ve always been fascinated with these sorts of things and I love how they exist everywhere in the world, but each has their own unique character and design.

I’m interested in the idea of bringing things to the forefront that may go unnoticed or unseen. As I write this blog, I’m realizing there’s a parallel between these everyday mundanities that go unnoticed and the often invisible labour of women, which is a theme I’ve been exploring throughout this past year. I’m looking forward to producing more works that use handmade feminine craft processes to translate imagery of manmade masculine objects/structures. If you don’t remember or haven’t seen my cross-stitch series Remnants of the Manmade, this was my first endeavour into this new body of work that I will continue developing.

Stitching, Unstitching is the working title of a new work that I’m getting ready to start. The other day I ironed and cut a large piece of Aida cloth in preparation. For this project, I will log hours of labour spent cross-stitching white thread on white Aida cloth, approx. 16 x 16 inches (224 squares x 224 squares), in a 24-inch embroidery hoop. After the cross-stitching is complete, I will proceed to unravel all of the stitching and log these hours as well. The threads, labour logs, Aida cloth, and embroidery hoop used during the process will all be part of the final presentation.

This work is both conceptual and process-based. The absence of a finished cross-stitch piece directs the viewer towards the suggested labour that was performed but is no longer visible. The labour executed in this piece is two-fold: first there is the labour required to stitch, second there is the labour required to unravel the piece. In the end, the only evidence of this labour is the documentation of the hours logged. This represents how women often work tirelessly, only to have their labour undervalued.

By using a traditional craft technique, the project explores women’s unrecognized labour. The process of hand stitching emphasizes the value of physical labour over mechanical production. Although the labour is invisible, the viewer can imagine the movements, the time, the traces of what used to be there, as well as the woman and artist that the labour was executed by. Overall, the piece invites the viewer to question the value of women’s labour, productivity, and craft.

Over the past couple of weeks I’ve been doing one of the most satisfying things, organizing my embroidery floss collection! I’ve accumulated quite a lot of thread over the past four years and I thought it was time to make things easier to find and replenish stock when I run out of a particular colour that I need to finish a project.

At the end of 2017, right before I moved to Vancouver (and really when I started to focus more on cross-stitching within in my art practice), my mom and I went to a flea market in White Rock where I scored a huge stash of embroidery thread for a steal of a deal! Then in September 2019, while I was at the Vermont Studio Centre for an artist residency, I realized I hadn’t brought enough supplies to last for my trip and I would need to buy some more thread.

Well I didn’t have a car and there weren’t any local stores in small town Johnson, VT that sold embroidery thread. It was recommended that I join a neighbourhood buy & sell group, where I posted an advertisement asking if anymore in town had supplies I could purchase. Well lucky for me, someone nearby offered to give me (yes give me) any of the thread from their (even bigger than mine) collection. Another steal! Needless to say I’ve received lots of deals and freebies over the years, but a lot of the threads were odds and ends and they needed to be grouped together with their family of colours. So I’ve finally organized them all and they look spectacular (if I do say so myself)!

Lastly, I recently added to my ongoing side project Stitching Loose Ends. It may not seem like it, but it is growing, slowly and steadily!

*Stitching Loose Ends* (ongoing work in progress), embroidery floss, Aida cloth⁠, 16 inches wide x 4.5 inches thick⁠, 2018-2021

Invisible Labour: Cross-Stitching, Feminism, & the Collective Strength of Women, hardcover book, 12 x 12 inches, 2021 — *Invisible Labour: Cross-Stitching, Feminism, & the Collective Strength of Women,* hardcover book, 12 x 12 inches, 2021

September 2021 - Update

September 06, 2021

This past month I’ve been taking it easy and having a much needed hiatus from working on new projects. But a couple weeks ago I rented a studio to photograph several projects that I’ve been wanting to document with professional lighting. A big focus for this photoshoot was of course documenting my most recent book project!

I also wanted to announce that I have extended the pre-order deadline for “Invisible Labour: Cross-Stitching, Feminism, & the Collective Strength of Women” to September 13th.

So if you want to order a book, please head over to my shop! For those who have already placed an order, please note that orders will be shipped at the beginning of October.

I also photographed my Ama’s old handkerchief box that my Aunt had sent me from Winnipeg earlier this year. The box is delicate and fragile, but what I love most is that you can tell that it carries so much love and memory within it. The box is decoupaged with a floral fabric print, which I scanned and used to create the cover for my book.

I’m not exactly sure which direction my practice will go in the next coming months. But I will most likely be taking more time for reflection and journaling. I want to explore what’s important and inspiring to me at this moment in time, as I’m sure this will guide me on my next path.

July 2021 - Update

July 03, 2021

Work in Progress - Funded Art Book Project
Recording: Feminist Craft of Care in Times of Crisis
Society Reboot: A Guide for Humans

Work in Progress - Funded Art Book Project

After three months of hard core cross-stitching and laborious unstitching, I’ve completed the final cross-stitch piece for my art book project funded by the Canada Council for the Arts. July will be spent reviewing all of the stories submitted through my open call and carefully curating/selecting which ones to include in the book. I will also begin the design and layout of the book using InDesign. It’s really rewarding to see months of work come together and I can’t wait to show off the book when it’s all done!

Recording: Feminist Craft of Care in Times of Crisis

Back in May, I was one of three artist’s that presented and participated in a panel discussion as part of the public programming for Cinevolution’s Digital Carnival Z. Now there’s a recording of the full event available to view on youtube!

Moderated by Minah Lee, Associate Curator.

How have the labours of women artists been affected by the challenges of the ongoing pandemic? By centering feminist understandings of time and intergenerational connections, can we resist normalized and privileged cruelties practiced by capitalist patriarchy in these unprecedented times?

This panel invites you to the works of Lena Chen, Mallory Donen, and Sarah Shamash, three women artists who are crafting "care culture" in their communities through their art practice and subverting the expected outcomes of feminized labours. Lena Chen is a Chinese American writer and artist creating performances and socially engaged art in live and virtual contexts. Mallory Donen is a multidisciplinary artist residing in Vancouver, exploring processes rooted in traditional craft passed down by generations of women in her family. Sarah Shamash’s projects often underline geopolitics, feminist thought, and historical difference as a marker for understanding the world and worldings in media histories. Threading together realities of gender, labour, and surveillance, the artists' dialogue will expose gendered bodies in resistance, woven into the textile and tactility of the digital world and beyond.

This artist panel is part of the public program series curated by Minah Lee for Cinevolution's Digital Carnival Z, featuring UNION by Featured Artists Nancy Lee 李南屏 and Kiran Bhumber ਕਿਰਨਦੀਪ ਕੌਰ ਭੰਬਰ.

Discover the rest of the events in the series at www.DigitalCarnival.ca.

Society Reboot: A Guide for Humans

I’m excited to share a new video work that I created as a response to the pandemic. The work is intended as comic relief from the anxieties that someone might be experiencing now that state of emergency restrictions are being lifted. How do we start functioning as social human beings again, after such an extended period of isolation? What is normal?

Society Reboot: A Guide for Humans is an instructional video created for humans starting over in a social setting. Have you been quarantined during a pandemic? Do you need a guide for social interactions that use to be second nature? Then, this is the video for you! Or maybe existing in society has always been awkward for you? If so, this guide will introduce you to the social basics and help you learn how to be more “normal”.

This project provides a serious reflection of society's ever-changing definition of “normal”. Humour, irony, and sheer ridiculousness are used as tools to confront discomforts and fears, as individuals are re-introduced to societal interactions.

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!

May 2021 - Update

May 01, 2021

Feminist Craft of Care for Times of Crisis: a presentation panel
A WAY Online Art Gallery
Open Call - Submit your Story
Work in Progress - Funded Art book Project

Feminist Craft of Care for Times of Crisis: a presentation panel

On May 13th @6:30pm-8:00pm PST, I will be presenting at an artist panel “Feminist Craft of Care for Times of Crisis”, alongside Lena Chen & Sarah Shamash. The panel is part of Digital Carnival Z an annual festival run by Cinevolution Media Arts. I’m very excited to be part of such a well run event and to be presenting with such amazing and talented artists. Register online through Eventbrite to attend the event for free.

I will present works from the past several years which investigate notions of labour, productivity, and the value of art in relation to craft and women’s work. Instead of becoming reliant on computers and other advanced technologies that are accelerating the speeds of production and consumption alike, I choose to look back to centuries-old practices that have been passed down through generations of women. I explore the parallel between repetitive processes and computer programming by taking on the role of a machine.

By embracing time-consuming processes such as hand-stitching, I emphasize the importance and value of women’s labour. As a female artist, my labour is feminized and inherently connected to women’s domestic work. I challenge expectations of traditional craft by introducing conceptual layers and experimentation with new media. Throughout my artist talk, I will bring awareness to the value of feminine art forms and the connection between craft and fine art.

A WAY Online Art Gallery

GlitchSeries04 - Crop_1_crop.jpg, Archival inkjet print and embroidery, 11 x 14 inches, 2019

Glitch Series 04 is available for sale at A WAY Online Art Gallery for the next couple months, check out their website for my work and art by some other amazing artists!

Open Call - Submit your Story

Women’s stories surrounding pain will be chosen to be part of a conceptual art book project, mirrored with images of delicate handkerchiefs and embroidery.

Submit your anonymous stories and experiences of when you felt the need to hide either your emotional/physical pain in order to avoid pity or shame for being too sensitive.

Let us contradict the stereotype of women as pure and fragile by demonstrating the perseverance, dedication, and strength of women.

Work in Progress - Funded Art book Project

The past month has been jammed packed with many hours of cross-stitching, as I begun working on my project funded by the Canada Council for the Arts. First, I received my new embroidery stand and hoops in the mail. Second I fully prepped a piece of Aida cloth by securing the edge with stitches, to prevent fraying. I even marked the vertical and horizontal middles with stitches, which is something I rarely do!

For this project, I am creating an art book consisting of scans of my Ama’s original handkerchiefs and corresponding cross-stitched replications of each pattern.

I have chosen and scanned nine handkerchiefs, which I am converting into cross-stitch patterns. Using the patterns, I am cross-stitching nine embroidered pieces (approx. 6x6 inches each), which are scanned once completed.

After each cross-stitch piece is completed, I will mirror the cyclical structure of a woman’s existence and allude to the concept of invisibility, by recycling the same piece of Aida cloth and the same strands of embroidery thread for each new pattern. I will unravel each completed cross-stitch replication and re-stitch the next handkerchief by reusing the same material.

The art book will consist of pages with a scan of a handkerchief on the left and a scan of the corresponding cross-stitched piece on the right. It will also include stories selected from an anonymous open call (Submit your story to be a part of the project). The stories will be examples from women who have had to hide or pretend that they were not in pain in order to avoid pity or shame for being too sensitive.

Throughout April, I completed three of the nine cross-stitch pieces. Each piece took an average of 25 hours to cross-stitch and 14 hours to unstitch. It’s weird to think that the only evidence of these works will be the final scans/images that will be included in the art book. Although it may seem unusual, it adds to the conceptual aspects of the work, by emphasizing the invisibility of the labour. This connects to the idea of women’s labour and pain as invisible.

I acknowledge the support of the Canada Council for the Arts.

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?

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

October 2019 - Update

November 04, 2019

The month of October was spent adjusting back to real life with a full-time day job. I found I still had lots of motivation left over from the residency and I was able to get a solid amount of work done. I completed another cross-stitch in the Translation Series, a painting from the Paint by Numbers Series, added a couple rows to Stitching Loose Ends and submitted to several galleries for shows in the new year, as well as an artist residency in France.

Pattern D (front view), 2019, acrylic, canvas, embroidery floss, 9.5 x 9.5 inches — *Pattern D* (front view), 2019, acrylic, canvas, embroidery floss, 9.5 x 9.5 inches

Pattern D (back view), 2019, acrylic, canvas, embroidery floss, 9.5 x 9.5 inches — *Pattern D* (back view), 2019, acrylic, canvas, embroidery floss, 9.5 x 9.5 inches

Stitching Loose Ends, work in progress (2018-2019), embroidery floss, Aida cloth — *Stitching Loose Ends*, work in progress (2018-2019), embroidery floss, Aida cloth

I also started to work on an old photography project I started back in 2017 while I was finishing up my MFA in Winnipeg. The idea behind the project was to shoot roll of film with a list of pre-established camera-settings. Therefore, each frame had an assigned f-stop and shutter speed. This further expands my approach to creating art as a machine through a new medium, using analog photography. The photos from the project were all printed in the darkroom at U of M, but now I’m planning to assemble them into a handmade book.

Lately my weekend routine consists of running errands on Saturdays, doing household chores on Sundays, cross-stitching, Netflixing, and taking in the beautiful sun rays in my apartment.

Translation #4 - Cross-Stitch (detail), 2019, embroidery floss, Aida cloth, 6 x 6 inches — *Translation #4 - Cross-Stitch* (detail), 2019, embroidery floss, Aida cloth, 6 x 6 inches

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

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!