Saturday, August 15, 2009

Current Artwork

Density; 24" x 24" thread and paper on industrial felt; 2009
Density (detail)

Felt - simple and complex


Calm I; 19.5" x 15"; thread on industrial felt; 2008



Carved and Twisted I (left); 20" x 15"; thread on unprocessed wool; 2008; Carved and Twisted II (right); 40" x 13"; thread on unprocessed wool; 2008

These images represent the journey of contrasting styles of my felt artwork. On one hand, I love the simple stitched lines and the resulting "spine" emulating a book. I also love the texture of folding, smashing, rolling then stitching of the second two pieces. On reflection, I think they both convey conceptually, one takes more time to process and the second two evoke a more immediate reaction.

Felt Artwork

howdeshell_spine2_detail_bloghowdeshell_spine2_blogSpine II; 42" x 18"; thread on unprocessed wool; 2008; and detail above


Postcard from MFA Solo Exhibition with detail of Spine II


Untitled; 35" x 15"; thread on industrial felt; 2008

More felt artwork from my MFA solo exhibition


Spine V; 10" x 9"; tea bag holders and thread on unprocessed wool; 2007


Calm V; 42" x 20"; thread on industrial felt; 2008


Calm III; 18" x 13"; thread on industrial felt; 2008


Encounters; 52" x 12"; thread on industrial felt; 2008

Felt Artwork and a bit of history


Spine III; 12" x 12", thread and tea bag holders on unprocessed wool; 2007



Spine IV; 26" x 18"; thread and tea bag holders on unprocessed wool; 2007 with detail above


Spine VIII; 38" x 18"; thread and tea bag holders on unprocessed wool; 2007

My study of the human spine began with some rudimentary drawings and by stitching on canvas and other materials. I was scratching around the idea and exploring and considering options. The image below is among the first stitched artworks I did. Technique-wise, I liked the contrast of the stitching and the material but thought it could be pumped up to have more impact. That was when I began experimenting with wool felt. Conceptually, I thought I had a germ of a great idea that would improve with more stream of consciousness writing about spines physically, emotionally and as metaphorical symbols. That has proven to be the case as my fascination and study of the human spine has evolved quite a bit since this initial artwork.


Spinal Touch; 13" x 13"; thread on linen; 2006

Drawings and first felt art work 2007


Detail of Spine I; thread and tea bag holders on unprocessed wool; 26" x 18"; 2007


Preparatory Drawing; 22" x 30"; graphite on watercolor paper; 2007


Preparatory Drawing; 30" x 22"; graphite on watercolor paper; 2007

The two drawings above are examples of many I did that eventually evolved into the first felt art work pictured above.

Weavings 2007-2008



Both of the above were made from a large open weaving of silk, bamboo and cotton. I laid in other fibers as you can see in the detail on the left. I still have a large part of this weaving that I would like to incorporate into my felt art work in the future. Both are clickable for larger views.


howdeshell_r_protectionism_fiber_2_blog howdeshell_r_protectionism_fiber_detail_blog

All of the images above are of one weaving; a raw silk and bamboo piece that was over 12' long! I love the way the bamboo shimmers against the raw silk. All are clickable for larger views.

Sunday, May 17, 2009

Artwork Fall 2006

agnesmartinpiece agnesmartininspiredpiece agnesdetail agnesdetail3 agnesdetail2

With a Nod to Agnes, 21" x 10" x 5", mylar, thread, © 2006

One of the artists whose work I referenced throughout graduate school (and beyond!) is Agnes Martin. I have a great deal of admiration for her work and her outlook on life. She found her place in life, her physical place that defined her most celebrated artwork and a passion for wanting the viewer to slow down and view the work as it was meant to be seen. Her artwork compels you to stop and let it wash over you, to be still, to envelop the calm.

blackwall IMG_0301

dresspattern1 dressonwall_detail

Dress pattern?, various sizes, mylar, Pitt pen, thread, patterned paper, full and detail, © 2006

In my second year of graduate school, I was exploring the concept of perception. I did a lot of artwork using transparent mylar and thread. My concept was that dress size is just a perception and by altering the pattern pieces, our perception is skewed and it becomes artwork unto itself.

Thursday, January 8, 2009

Artwork 2005-2006

Infinity, 2006, 18" x 18" x 4", pins, wool felt, series of three round sculptures with pins

Dress form, 2006, 6' x 3', pins on cotton and insulation board, set of three

Beginning at the beginning, 2006, 18" x 18" variable, pins on artist's child dress

Dark Fog, 32" x 20", 2005, color images in cotton duck, paint, hand stitching

Artwork 2004-2005

Boxed Squared 4, 40" x 28", 2004, hand dyed and painted silk and velvet, vintage kimono, commercial fabrics, fabric paint, hand embroidery, machine stitching

Boxed Squared 4 (detail)

Artwork 2004-2005

Organic Study XV, 22" x 30", 2004, hand dyed and painted fabrics, sun printed fabrics, commercial fabric, vintage kimono, computer printed organza, hand embroidery, machine stitching

Artwork 2004 - 2005

Ground Cover, 2005, 16" x 15", hand dyed and painted fabric, paper, window screening, hand embroidered, machine quilted

Artwork 2004 - 2005

Fraught with Possibilities, 16" x 16" x 2", 2004, photo transfer, handmade paper, paint and stitching

Fraught with Possibilities (detail)