Silvia and our Cerro Danta collective presented five panels to the fiber collaborative in Syracuse, NY. This is a gigantic installation measuring 800 square yards! Artists from 16 countries are present to protest our world’s dependency on petro oil.
SILVIA Y LA COLECTIVA CERRO DANTA PRESENTARON CINCO OBRAS A LA COLABORATIVA DE FIBRAS EN SYRACUSE, NUEVA YORK. ESTA INSTALACION ES GIGANTESCA: MIDE 800 YARDAS CUADRADAS (Â¡CASI UN KILOMETRO CUADRADO!) Y COMPRENDE ARTISTAS DE 16 PAISES â€”TODOS ELLOS PRESENTES PARA PROTESTAR NUESTRA DEPENDENCIA MUNDIAL DEL PETROLEO.
Our quilts will be displayed until June, 2008, covering an abandoned gas station.
NUESTRAS QUILTS SERÃ¡N MOSTRADAS HASTA JUNIO DE 2008, CUBRIENDO UNA GASOLINERA ABANDONADA.
“No Mo Oil” (appliquÃ© on felt)
“We Love Nature” – AppliquÃ© & painting over cotton mesh
“AMAMOS LA NATURALEZA” – APPLIQUÃ‰ Y PINTURA EN TELA ALGODÃ“N
Go to the site and enjoy seeing all the artwork submitted!
Â¡VAYA A ESTE SITIO Y DISFRUTE VIENDO LAS OBRAS DE ARTE QUE SE PRESENTARON!
REVISTA Fiberarts MAGAZINE
The World Reclamation Art Project (WRAP)
In our November/December 2008 issue, we included Jennifer Marshâ€™s World Reclamation Art Project (WRAP), a gas station cozy created to address the worldâ€™s dependence on petroleum. For the project, Marsh received individual squares from thousands of people around the world that she combined to make the cozy. Here Marsh tells the stories of three of the contributors, including Fiberarts Assistant Editor Liz Good.
The World Reclamation Art Project on display in DeWitt, New York (just outside Syracuse), April 12â€“ July 1, 2008. Photo: Cathryn Lahm.
Silvia Piza-Tandlick is a textile artist and the founder and director of OctÃ¡gono Gallery in Costa Rica. The gallery is a community-based program that provides educational and income opportunities through the textile arts. Silvia and her group joined the project to express their concerns towards our worldâ€™s dependency on petroleum. In total, her group donated five truly inspiring panels. Silvia shared with me a story about another participant, whom she met through the IFC, that lived in Argentina. She said this amazing woman had been fighting cancer but was struck by our community textile-based project on oil dependency and was driven to complete a panel. Silvia said the ill woman had to take breaks and rest her arms in ice as she was finishing her panel. Wow! That is just amazing and inspiring.
Fiberarts Magazine, The OctÃ¡gono Gallery group (Costa Rica), Untitled, 2008; painted, stitched; 3′ x 3
Art to the Rescue takes old or used materials, and gives them a new identity. This oxcart was made with pages of old magazines, then painted with acrylic mixed with white glue and coffee grinds.
Arte al Rescate toma materiales viejos o usados y les entrega una identidad nueva. Estas carretas son hechas con pÃ¡ginas de revistas viejas, pintadas luego con acrÃlica mexclada con goma y grÃ¡nula de cafÃ©.
“Music First” is a rescued plastic plate covered with paper machÃ©, decorated with paint, cardboard, paper, and beads.
“Primero La MÃºsica” es un plato plÃ¡stico rescatado, cubierto de pulpa de papel, pintura, cartÃ³n, papel y abalorios.
La Colectiva de JÃ³venes estÃ¡ aprendiendo a rescatar. En la actualidad, hacemos libros alterados y platos de pared.
OUR YOUTH COLLECTIVE IS LEARNING TO RESCUE. PRESENTLY, WE ARE MAKING ALTERED BOOKS AND WALL PLATES.
In 2006 we reached our second stage in our textile path, although still depended on the fabric itself to make a statement. We used embroidery to enhance texture, color, and style, yet our design still had appliquÃ©, piecing, basting, and quilting.
Now we enter a new stage in design as well as fabric manipulation, because we want to give our mountain area a distinctive “signature” to be known for. Without removing ourselves from quilts, we create “quilted tapestries” and “textile sculptures”.
We will now use less appliquÃ© and piecing, and more manipulation.
Our Guapote quilt (T191) is our first example, born from watching the fish in the pond at InBio Park one afternoon.
EN EL 2006 ALCANZAMOS UNA SEGUNDA ETAPA EN NUESTRO DESARROLLO, EN LA CUAL TODAVÃA DEPENDÃAMOS DE LA TELA EN SÃ PARA HACER SU DISCURSO. USAMOS BORDADO PARA REALZAR TEXTURA, COLOR Y ESTILO Y, SIN EMBARGO, DEPENDIMOS DEL APPLIQUÃ©, SECCIONADO, BASTIDO Y ACOLCHADO.
AHORA ENTRAMOS EN UNA NUEVA ETAPA DE DISEÃ‘O Y MANIPULACIÃ³N DE LA TELA, PUES QUEREMOS DARLE A NUESTRA ZONA MONTAÃ‘OSA UNA “FIRMA” PROPIA. SIN ALEJARNOS DEL QUILTING, CREAMOS “TAPICES ACOLCHADOS” Y “ESCULTURAS TEXTILES”. USAREMOS MENOS APPLIQUÃ© Y SECCIONADO, PERO MÃ¡S MANIPULACIÃ³N. NUESTRA QUILT “GUAPOTE” (T191 arriba) ES EL PRIMER EJEMPLO, NACIDO AL OBSERVAR GUAPOTES UNA TARDE EN LA LAGUNA DE InBio PARQUE.