SistahCraft

The Mothership Has Landed!

(Crystalline Octogonal Floorpiece, machine knit, hand and machine sewn, hand dyed. This rug doubles as a spiritual launch pad; all pics enlarge).

And people, it's been an expedition. Damn, where to start? Basically I've been just laughin' and cryin', living, loving and most definitely learnin', in the now; 'cause now's the time and there's no time like the present.

So That's Where I'll Pick Up...

Part of my being M.I.A was reluctance to write in detail about my commissions before they became public. Hey, I respect the client/artisan relationship. And the remainder of my life's travails? Well, they just weren't as interesting. But there'll be other posts for that –– no, really; trust me, I'm having a cathartic moment. Why?

...And Fly Away!

(Jennifer here with final lab dips and octagon series).

The good news is, my beloved artist and collaborator, Jennifer Tee, has been, and will be in residency here in The Apple until December!                                                      

The featured sculpture, was the centerpiece for A Woman's Mind May Resemble A Room, Jennifer's installation presented at the seemingly esoteric ISCP in Bushwick, Brooklyn in May.  In the performance segment, the crystalline series floor-piece morphed into a jetty for the ether showcasing Miri Lee's New York debut of her choreography depicting an interior, psychological space. 

My fabrication of this conveyor to the psyche was no joke. It was knitted in 32 sections, dyed using an airbrush (some sections requiring several sprays) then invisibly sewn to the non-dyed parts before its machine sewn finish. FEH, to the discouraging folks of the dye community who told me airbrushing would be an impossible pain in the ass to do –– it was a possible pain in the wrist instead. But I give thanks to Robin of Aljo Dyes, Tribeca's temple to tint for the talented, for her advice and encouragement. Sis', you rock!

And I'm sendin a huge shout out and thanks to my assistant and the one to look out for, Whitney Harris. Her hands matched mine stitch for stitch, in perfection. And finally a major thanks to Sam, Luis and all the folks at Rug Pad Corner. Their Ultra Premium Pad has elevated all of my knitted textiles to function as a carpet/sculpture. Miri could ascend into the spiritual realm, confident of a solid landing.

 

(photo credit: Nezu In New York. Thanks!)

Flower Power! The Blossom Of Fiber in Harlem

 (Fabulous fiberistas! From left to right: Fern Gillespie, Laura Gadson, Michelle Bishop*, Veronica Kerton-Johnson, Rosa Walker, Gail Edwards, Urmie D. Seenarine, Patricia Williams, Audrey Weaver, Edna Johnson, Anna Alvrez, Valerie Deas, Joann Boris-Salley, Ife Felix, Shimoda. Not shown: Me, Dindga McCannon, Jackquelyn Jones, Ketney Jean-Francois, Lisa Daehlin, Sherry Shine, Willena Nanton. Photo by Gerald Peart. All pics enlarge).

Until now, I disliked fake flowers as mockery––think cheesy silk blooms with a drop of clear acrylic on a petal to masquerade as water. Flowers rendered in needlework can look even worse; a parody, rendered with limited skill in a medium totally not suited to the plant or flower being reproduced (I fell victim to the latter last year. My attempt to crochet apple roses in a timely fashion, turned out so poor I dropped out of the show). But, what if such super-realist ambitions were abandoned? What would be the outcome of the desire to cultivate using mediums and techniques of intimate acquaintance, to create plants and flowers that spoke to feelings? Or were spiritual messengers? Or just plain happy and fun to look at? 

A Damn Cute, Bloomin' Show, That's What

This year's exhibition brought together 22 artists, producing flower and plant sculpture in a luscious bouquet of styles, spanning the spectrum of fiber art––just about every which way you could work your hands was worked.

(Flower as memorial; They Used To Hang Out Here, by Dindga McCannon. Machine and hand embroidery, machine applique and writing, hand printing, digital transfer). 

The restrictions by the NYC Parks Department that dictated the mode of display (art must be placed in pots, cannot touch anything, etc., etc.,), didn't tame our creativity; indeed it was the catalyst for an outpouring of work which turned even brighter when the sun blessed us, and ignited conversation among viewers and participants concerning the aesthetic value of "fake" flowers.

Art vs Affectation? The People Have Spoken

(These beautiful, well executed pansies are from Valerie Deas. Hand cut, quilted, machine and hand assembly).

 My photos don't do justice to the artwork. In fact, the feedback from the viewers I spoke with, have become a kind of benchmark for my own artistic exploration in dealing with nature's flora––they aren't meant to be copied.

"I don't want a reminder of what I can't grow; it should be just art."

"These look better than what I have in my garden and require less care, too."

"I hate silk flowers. These are more like art. I could have one in my living room."

"I love silk flowers, but these are different." 

Whether rendered, re-imagined or totally recherché, the comments by viewers on both sides of the grass was that hey, if it's done well enough to elicit recognition and an emotive reaction––other than the neutral pleasantness of silk mimics? It's winning.

Here are more examples:

(Ampelopsis Agripeta Amor "Veni, Vidi, Vici**"; Hand-spun wool vines incorporating hand cut, stamped and painted felt leaves, needlefelted berries, and florist wire; constructed trellis from found branches, cotton string. by Sahara Briscoe––me).

  (Future flora! This very popular crochet burst was created by Urmie D. Seenarine).

(The rendering of these knitted sunflowers, right down to the seed stitch dirt was genius! Touch of Gold, by Rosa Walker, adapted from 100 Flowers To Knit & Crochet, by Leslye Stanfield. Veined leaf pattern by C.Comb).

(Little Green Me; machine pieced, multi-media formed face. Laura Gadson).

What Are Those Numbers?

The numbers aided the judges in their selection of flora to be shown at the inauguration of the community gallery at the City College of New York in the fall. Here's a big shout out to the judges!

(Excluding Michelle, from left: Tara Powell, of Barbara's Flowers, Jerry Grant, Artist, Isisara Bey, V.P. of Count Me In, Katrina Parris of Katrina Parris Flowers).

  

 And a huge thanks and shout out to my sisters Michelle Bishop and Laura Gadson for making it happen and giving me the opportunity to plant the seeds of my own artistic growth!

*Michelle Bishop, Producer

**The latin identifier is made up.

Space Is The Place

(Can you spot the spinners? The David Rubenstein Atrium at Lincoln Center, NYC. All pics enlarge)

 

Whorling around town on Monday evenings with the super-swell Spin City Meet-up has made me emphatically aware of the value of decent public space––woefully lacking in this city.  What constitutes decency? Well, I reckon we've met in a space with nightclub lighting (the SONY atrium), an abandoned performance space (the former Altria branch of the Whitney Museum), a colossal palm preserve (the World Financial Center's Winter Garden), and a sub-basement (30 Rockefeller Center), among others. In the sparingly grandiose atrium lobby of the latter, your subterranean descent is brilliantly camouflaged by Joie – Crystal Waterfall, a mind-bogglingly breathtaking chandelier. A HUGE shout out to Hanna Birmans, the young woman who planned out and with another woman tied the knots––talk about interlacement! That is craft.

An Unassuming Surprise

If you're looking for a sophisticated, but pleasant needlework respite, the above photo speaks for itself. Claudy Jongstra's  fiber wall, and the vertical gardens both soothed and wowed me entering this superb atrium, artfully housing the day-of-discount ticket center for the Lincoln Center campus; it also duplifies as a performance space. Comfortable furniture, appropriate lighting and free wi-fi (in case you forgot your pattern and need to look it up).  The  'Witchcraft Cafe has fine food and a small bar––totally adult. The overall effect the space seemingly has on visitors besides enjoyment, is one of respect; the unisex bathroom was extraordinarily clean without the constant presence of a custodian. I was duly impressed. This is the place to be. Catch a free performance, knit a few rows, sip a few drinks, spin a yarn.

A big shot out to my fellow spinners, especially Jody, who I hadn't seen since our annual holiday party. We helped her learn to spin; now she turned up with a Louet Victoria––you GO girl! And a huge hug to Donna, a spectacular spinner, Tech Designer to the Marc Ecko Empire, and our intrepid organizer, guiding our caravan throughout the city.

 

Hitched To A Legacy of Dreams: Uppity Women!

( A handbill from the Nicodemus Town Comany; all pics enlarge)

Last Thursday night's opening performance of Lorna Littleway's adaptation of scenes from Pearl Cleage's Flyin' West, the first of two poignant, power-punching plays opened  my memory book. In another life, my fellow hustler-in-craft, Ajouba gifted me her T shirt, printed with the bold-faced proclamation above.  I am now forever grateful to her for unwittingly hitching me to one of the more important pieces  in the historical  patchwork of American life.

1898––We Shall Not Be Moved

   (Yes, you will. Bryan Webster as Frank Charles; Joresa Blount as Minnie.  Scene photo credits: Images by Tanja.)

In this both humorous and caustic drama, Sophie, Fannie, and Minnie are frontier women and established exodusters in Nicodemus, Kansas, a growing blacktopia in the face of the Jim Crow era.  To disrupt  their  peace enters Frank Charles, an arrogant poet, who's passing ("I let people draw their own conclusions") for white. Newly married to the naïve Minne, a dis in his inheritance coincides with a property gift to his wife, inducing him to coerce her to sell out and move  to with him to London. When Sophie surprises Frank in an act of violence, she calls upon her sisters to liberate their youngest sister from domestic slavery.

 1930––Hitchin' My Wagon To A Star

(Brutally betrayed. From Left; Michael Jones as Leland, Patricia R. Floyd as Delia, Bryan Webster as Guy, T. Reneé Mathis as Angel.)

Blues for An Alabama Sky is an intarsia of dreams. However, economics, racism, sexism and homophobia is shredding the fabric. What's the escape route? For Guy, a homosexual costume designer, it's Paris, via Josephine Baker. Angel, a nightclub singer, wants a headline and Delia, a Planned Parenthood advocate, Harlem's first birth control clinic.  But the introduction of Leland "Alabama" Cunningham into Angel's life will appliqué a layer of confusion over everyone, his gentle manner veiling a rigid personality unable to cope with the expansive identities emboldened by the renaissance of Harlem's artistic and intellectual movements.

 Spreading The Love

(Pat relaxing after a sterling performance.)

Ancestors! This was some of the best work I've seen in a long time. The copiously talented cast under the direction of Rome Neal (Artistic Theater Director, Chairman of the Board of NPC theater program), turned it out! I implore you to get to the Nuyorican Poets Café to buy online tickes for these veritable works of the African-American experience. It's up until April 16th!

A big shout out to my friends––Pat Floyd, (Law & Order, three time winner of the  Golden Earphone awards), Bryan Webster, Co-Producer and Artisitic Director of Sugar Valley Theatricals), The Juneteenth Legacy Theater* and the most fabulous Tom Martin (All My Children, TWAS) who hitched me to the legacy path.

*Take a look at a scene from Blues.

Summertime, And The Whirlwind Is Easy––Row 1

(Uhuru Sasa!!* July 4th weekend at the 39th Annual International African Arts Festival 2010**; all pics enlarge.)

I Was Looking For Y'all!

Despite the smokin' hot (as my gurl Nicole Bryd would say) temperatures over the July 4th weekend, folks were out in force at Commodore Barry Park in Brooklyn for day 3 of the 4 day cultural festival of entertainment, food, crafts, workshops, a black inventors exhibit, fashion, theater and more. Can I tell you? It was happenin'!

This event commemorated the 40th anniversary of the iconoclastic Uhuru Sasa Shule the independent, community run school of The East, a cultural nucleus in the Bedford Stuyvesant/Fort Greene area (a HUGE shout out to Baba Jitu Weusiº, co-founder).  In order to keep this post within your attention span, I'll only rap on my day, but do get the full rundown on the festivities, and the history of this iconoclastic institution from the footnote links.

Major Standouts From My Style Lens

  (Silver, semi-precious stones, bone, oxidized metal; Akosua Jewelry Designs.)

I was on a  serious mission to acquire another piece from Akosua Bandele, an Afro-Futuristic ornament sculptor, who I met years ago during Harlem Week.  Unlike most trendy, status symbol jewelry––the moment never passes for hers. Not to be missed either, Akosua's partner in life Marvin Sin, is a superb artist working in sculpted leather portraiture. His accessories are a must have––and that day, the must-have of the must-haves was the Obama portrait wallet. In light of the up-coming birthday of the lion of America, show your continued support by rockin' one!

Because It's Time!

  (Bamboo and leather, hand-stitched; Nativo Collection Watch, by ECOWRIST)

  This united couple, MarQurite Hamden and David Gandy know about quality time; thank the ancestors I found them!

Tired of digging in my handbag for a phone to tell me the time, I had been vibe-ing for a watch. Energized from my new ear sculpture, I wanted to see who else was leading the different. Well, I didn't have to walk far.

Baby! These watches are the re-birth of cool. MarQurite and David work with artisans in South America to produce these works of natural materials. Yes, the movement is quartz, but this was necessary to keep the prices affordable––under $150US. Not sure of how to dispose of your old battery? They know how and will do it for you. Yo, D.P.! Get to their site for a watch, so you can stop yanking my arm to oogle mine.

The Super-natural Future, Today

(Future present; fiber incorporated locks, and mathematical cornrows are crowning the heads of standout sisters.)

My mission accomplished, Mr. K and I reveled in the rest of the fest––eye candied folks who my gurl Zenobia Bailey calls the supernatural brothers and sisters.  Big up to all of the most beautiful attendees I've ever seen in my life!  Uhuru sasa for the future!

Yarnfettish, you woulda' passed out at the natural hair show, produced by Nekhena Evans, owner of New Bein' Enterprises. My style lens is focusing on fiber accented locks, new-math cornrows and wire, by next summer; look for it, y'all.

 

The Call And The Response––Many People, One Voice

(Africa called and we responded; Lorraine Klaasen vocalist and performers.)

Every year the IAAF has brought passionate and magnetic performers to the stage, from Fela Kuti, to Lauryn Hill. This year it was Lorraine Klaasen the high-powered South African vocalist. Singing selections from her new album "Africa Calling", this sister had folks of all colors kicking up dust! Check out her site and pick up this wonderful album post haste––lalalalalalalalalala!

Already? Damn!

My watch is telling me it's time to go to the separate reality of dreamland. That said, a big shout to the sponsors, organizers, coordinators, volunteers, exhibitors, performers, and everyone else who worked hard to make this happen. And a special thanks to Atim Annette Oton co-owner of Calabar Imports and the publisher of Calabar Online Magazine; she went to print for this event. She's also the reason for row 2––the next post.

Important footnote links

*The 39th International African Arts Festival

**Uhuru Sasa means freedom now, in Swahili.

ºBaba Jitu Weusi, the East, and the Uhuru Sasa Shule––a watershed time in New York City's education history.

Stay tuned, y'all! BTW, my homeade sorrel was great!

(pic taken by Mr. K––mwah!)