While researching images for this part of my course, I discovered so many interesting, talented textile artists. As weaving is my main textile-related interest, I found these three inspiring:
Machiko Agano, born in Kobe, Japan, started out in textiles as a weaver. She studied at Kyoto City University of Arts in Japan in the 1970’s, and is a professor at Kyoto Seiko University. Her large scale installations are designed specifically for the space in which they will be shown. Agano uses a broad selection of materials, ranging from fishing line and wire to fabric and bamboo to inkjet printing and mirrors. Agano’s work has been shown throughout Japan and the UK. In 2001, she participated in Transition & Influence‘s Textural Space project, with her well-reviewed installation at Fabrica, and again in 2003’s Through The Surface. The Fabrica piece, a large scale installation composed of nylon filament, silk thread and handmade Japanese paper, is a beautiful example of her work, with an organic, almost ethereal feel, and a strong sense of movement. This piece certainly achieves her goal of wanting the “viewer to feel enveloped by the mysteries of nature when they see my work.”
Jo McDonald is a Scottish tapestry weaver. Her work is visually almost the opposite of Agano’s, more solid and earthy. She uses old books and other found papers, layered and rolled, woven or held together with monofilament, to form installations that create a new purpose for theses items. McDonald considers herself the “editor in the recycling of this material.” With an MFA in Tapestry from the Edinburgh College of Art, McDonald’s work has been shown throughout Europe, as well as Australia and the United States.
Amie Adelman, an Associate Professor and Fibers Coordinator in the College of Visual Arts and Design at the University of North Texas, has taken her weaving knowledge to create large-scale line installations. Her work makes me think of Spirograph, in 3D form. Though her work feels mathematically based, Adelman says she “didn’t set out to be a mathematician. I became more interested in math as my artwork developed.” [FiberArtNow, Winter 2014/15] The layering of the thread combined with her use of color create dazzling, energetic pieces. Even though only seen in pictures (unfortunately), the installations seem to glow and shimmer. Deflection, 2014 conveys the energy of the sun’s rays through the use of color in high contrasts and more subtle shifts, as well as the increasing/decreasing sett of the threads.
I hope someday I can view some (all!) of these works in person. It would be interesting to compare my impressions then with now.
Obviously need to work on my lattice skills. Luckily, it does not affect taste!
Looks much prettier cut…
I used frozen blueberries and rhubarb, more than called for just to use up the whole bags. Worked out fine. The Perfect and Flaky Cream Cheese Pie Crust lives up to its (rather long) name!
And just for fun, my RLB collection. The top one is The Cake Bible, my first Rose cookbook and brave dog-attack survivor. It’s still in use over 25 years later!
Mia Cullin is a freelance designer and interior architect from Stockholm. On her website, she lists handicraft, folding and origami as inspirations, and that is beautifully reflected in her home designs. The Tyvek room dividers displayed in the 2007 Casa Cor exhibition are composed of hundreds of pieces that can be assembled in different ways, and have a playful, ’60’s feel. Loop, a loose interpretation of a curtain, is made from strips of wool felt, and evokes a similar style. Her room divider, Button Hexagonal, is another example of a multi-pieced, re-configurable textile with a practical application. Cullin is obviously inspired by geometric shapes, and expresses these in solid colors, frequently white, which adds to their bold, clean feel. In addition to textiles, her work includes furniture (such as these charming piano stool inspired benches), lighting fixtures and more, and can be found in a wide range of outlets.
More recipes from The Baking Bible.
Two weeks ago, I made the Heavenly Chocolate Mousse Cake:
First, you make a sponge cake, very lovely and light, which is used to line a loaf pan. Then a chocolate custard (seriously, I could have stopped right there and just eaten that), cooled and folded into stiff egg white for the mousse. Fill the pan, and a layer of cake to seal, and voila!
Very good, though I think if I made it again, I’d layer the cake and mousse. I’d like a higher ratio of cake and think it would look prettier.
This morning, Irish Cream Scones:
I’m not a huge scone fan, but these are quite good and make me look forward to baking the other scone recipe, especially as it has a raspberry butterscotch sauce.
Non-baking related, but fun, my Meyer Lemon Tree only produced three lemons this year, so I didn’t want to waste them. I used the peel to infuse olive oil (the Dragon Blood) and the juice to make a simple syrup for cocktails (the Snake Oil):
A Christmas gift from #4 (and youngest) son, I absolutely love these fabulous bottles!
We did not have a Super Bowl party, but #2 son was over (hi Dan! This is a test to see if you’re reading my blog…), so it seemed like a good excuse to bake two recipes from The Book.
For the main course, Pizza Rustica:
Fresh out of the oven
It called for a lattice-top crust, but I ran out of flour and so used 1/4 c. corn flour, which made my dough a bit crumbly and hard to work with.
The filling is made of eggs, ricotta, mozzarella, pecorino and dried sausage (I used sopressata). It’s kind of a cross between a quiche and a calzone, maybe? The crust is a bit too sweet for my taste, even if it weren’t a savory filling. I am glad I went to the Italian market for the higher quality meat and cheese, as that’s what makes the dish!
For dessert, Luxury Oatmeal Cookies:
In typical Rose fashion, first you make homemade granola, instead of just using oats. I love her attention to detail, and think that step was absolutely worth it. These granola/raisin/chocolate chip filled cookies are very, very tasty!