Surprise and Delight

Anna Vandelman reports:
The evening of March 15, 2017 will go down as one of surprise and delight for Pomegranate Guild members.
Who among us does not admire paper cuts? And how many of us ever thought we could add one to our repertoires? Well, we all did it!
Guest artist Annyen Lam gave us an overview of her amazing work, and then step by step instructions for us to follow along.
We used art knives, paper called classic kitakata, and a hamsa image provided by Annyen to do our work. Annyen patiently answered our questions, and helped us individually with our cutting challenges. We all came to realize how her many of hours of practice lead to her expert work. But to our delight, we each went home with a paper cut Hamsa!

 

About Annyen and her work:
www.annyenlam.com
www.instagram.com/tinybladesproject
Annyen Lam is a multi-disciplinary artist based in Toronto, Ontario. She holds a Bachelor of Fine Arts from OCAD University (2012) as well as the Medal for Printmaking (2012). Her practice includes cut paper works, installation, stone lithography, screenprinting and book arts. She has exhibited throughout Canada and has participated in shows and print exchanges in Holland, Japan, Russia and Venezuela.

 

 

Spirit of the Bead

Anna Vandelman writes:

Naomi Smith, our guest lecturer on Jan 18th 2017, shared the “Spirit of the Bead” and “Indigenous Stories of Beadwork” with our Guild, introducing us to the work of several First Nations peoples.

Many beads were acquired through exchange during the fur trade. Early beading was done with extremely small beads (sizes 22 and 24 – the smaller the number the larger the bead). A common object for beading were six-sided flap bags made for both native and non-native purchasers. Patterns included crosses depict the four corners of the world as well as other symbols interpreted through beads. Florals motifs appeared on pouches likely of Seneca origin. Some embroidery also shows added ribbons with beading on the ribbons. Decorative items were not differentiated as “art” but are fundamental artifacts.

Naomi showed us some of the popular techniques, including the use of paper templates and double-beaded edges. She showed us how purses opened in the back and not by lifting the flap.

From the 1870s to about 1910 beads get thicker with sizes 9 and 8 being used. Clear beads can be seen on the paper templates overlaid on navy blue velvet. New objects are created: pin cushions begin to appear along with hat pin cushions. By about 1921 there were more new products, including matchstick holders. And as photography became more prevalent there were beaded photo frames.Selling these products created a way for women to survive.Travelling sales saw tribe members carrying up to 2000 lbs. of bead work across the country.

After the slide show we were all invited to view – and touch! –the artifacts. Of great interest were the exquisite cuffs and collars. We could feel Naomi’s pride in her history. But beading remains a living activity: Naomi told us about a current commemorative art installation, “Walking with our Sisters,” where beaded moccasin tops symbolize indigenous lives cut short.

Altogether a rich opportunity to glimpse another culture through textile techniques.

About Naomi Smith – Beader
Naomi is a First Nation Artisan and Educator. She is actively involved in educating others about the ways of the First Nations people of the Woodlands and Northeastern area from a historical and contemporary perspective often through the story of beads. Her work embraces ancestral designs in the form of bags, adornment and traditional accessories. Naomi’s work has been exhibited across Canada and internationally. She has exhibited at the National Museum of the American Indian (NMAI) in Washington DC and NYC, Vancouver 2010 Olympics and participates in numerous Native and non-Native events throughout the year. Her work has been acquired as permanent collections at the Art Gallery of Guelph, Niagara Historical Museum, and private acquisitions throughout the world.

Naomi is an accomplished public speaker and enjoys educating others about the culture and life ways of the Woodlands or Great Lakes First Nations peoples. She always welcomes and feels honoured by the many opportunities to share her cultural legacy.
 
Artist’s Statement:
“Honouring our traditions is my voice within and beyond my Culture and Community. Traditionally there is no word for “art” in Native languages yet artistry and visual expression are critical in defining who we are as First Nations people. It is this path I wish to exemplify through my teachings and my work”.

And you shall teach your children – compassion and community service

Anna VanDelman writes
On December 21 Guild members spent a short time recalling the sweatshops some of our ancestors worked in at the beginning of the 20th Century. With a flurry of work, our members produced project kits for distribution to children in our community.
The evening was opened by a moving introduction by Samara Goldenburg who shared stories to convey the social myths and social work of the Jewish community. And, then Guild members rose to our challenge for the session: Six tables, each with a different age-based textile project to assemble materials and other goodies for. This project helped us responsibly use stash we had collected over the years (hooray).Members were so engaged in the process (the more kits, the more children we can help!) we could hardly hear ourselves talk.
At the end of our 90 minutes of piecework, we completed assembly of:
• 25 dinosaur kits
• 20 Teddy bear kits
• 25 glove puppet kits
• 25 tooth fairy kits
• 25 grab bag kits
• 45 sticky back tile kits
Congratulations to our programme team Paula Suchat Miller, team co-ordinator, Reesa Wasser and Shirley Gossak for the tremendous amount of work it took to enable Guild members the chance to pay it forward.

It all begins with a line – an evening with Helen Liene Dreifelds

“It all begins with a line,” says Helen, a weaver of fascinating shapes.

Helen Liene Dreifelds spoke about her own artistic journey, illustrating it with many examples of her work in woven monofilament and hand-spun fibres. She concluded the evening with a hands-on exercise for us.

Helen explores textile constructions to see how she can expand beyond traditional boundaries of the craft/art. When a number of us remarked that a striped piece seemed to recall a tallit, Helen said such observations help connect her to a recently discovered Jewish great-grandmother.

Every table had a chance to look up close at samples of her very fine work, and compare them – as she urged us – to her photographs of them. With music playing, Helen often works in 15” widths on a 36” wide loom and builds up sculptural forms by layering, twisting, weaving, and hanging the narrow strips together. Due to the properties of the filaments and threads, much of the work is self-supporting and they are miraculously completed with the use of light shining through them.

Positioned like actors on a stage, Helen’s work will be on view at the Lonsdale Gallery from 23 November – 23 December 2016. Helen can also be found working at Harbourfront Craft and Design Studios where she works, learns and shares ideas with the other 28 artists-in-residence in a wide variety of disciplines.

We all felt the metaphysical experience of her work hands-on as Helen led us through an exercise to use pieces of screening, cellophane, along with other materials we were not used to. And – believe it or not – a flashlight to help us let the shadows of our work tell a story. We each surprised ourselves by creating nylon mesh sculptures. Take a look at our work here, and Helen’s too.

Heads UP!

Anna Vandelman writes

Hats off to programme guru Paula Miller as she continues to bring creative ideas to us at the Guild. For our opening programme this year– in our new accommodations at Beth Emeth Bais Yehuda Synagoge –  she brought millinery expert, Ampara Findlay of Hatitude to run us through the ins and outs of making exquisite fascinators.

Everyone was involved and excited to participate – including those who came intending just to observe. Personal knitting and crochet projects were put aside as we all rummaged through the Guild stash and chose items of our own that we’d brought along for the evening.

After a brief introduction, we got to work. Amparo went around to each one of us helping us with our choices and making suggestions so that all of our creations looked professional.

It was, indeed, a fascinating evening. And we are sure that many new items of headwear attracted attention at shul this high holiday season!

Textile 3D – getting messy with Paverpol

Karen Sanders writes:

Vessel_Karen_SandersAt our May meeting we had the opportunity to get down and dirty while learning to use an exciting new material.Marlene Morton of Camerons Studio, Port Dover, Ontario was the speaker and teacher of our meeting. Marlene is a fabric sculpting artist. She uses natural fabrics treated with Paverpol, a remarkable new sculpture medium from Holland. This environmentally friendly, water-based hardener is non-toxic and harmless to people, plants and animals.

Since Paverpol is made to cure rock-hard, sculptures and statues are weather resistant after hardening, and can withstand snow, frost, wind, rain and sun. Paverpol is easy to work with. It adheres to almost any material, except plastics.

We met at Darchei Noam for this joint program with our venue hosts. With floors and  table tops covered in plastic sheeting, we wore aprons to protect our clothes and gloves to protect our hands. In advance we chose either to work on a flat surface or to created a vessel. We each supplied a 100% white cotton tee shirt. Each table was equipped with scissors and several containers of liquid Paverpol. We cut our tee shirts into small squares, then dipped each square in the pre-mixed and tinted Paverpol, squeezing it so that the liquid was completely absorbed by the fabric, leaving no white spots uncovered.

Each person working on a flat surface was given a small face to place on her work. The others had brought vessels, e.g. pots, vases, or even an armature. We crumpled our fabric pieces and draped them to make a design or to totally cover our vessels. This was very messy and therefore was a lot of fun. Once we were satisfied with our projects, we used hairdryers to partially dry our work. Then we used dry brush acrylic paints to paint our creations. The paint covered the “ridges”, leaving the “valleys” – the original black or gray of the Paverpol – giving an interesting finish. The Paverpol dries completely in twenty-four hours, so we took our work home to finish drying and curing.

We hope you will add pictures of your own finished work to our Facebook page post of this meeting!

Visit Marlene’s website at www.cameronsstudio.com. Many thanks to Marlene, her volunteer helpers and our own Paula Miller for organizing the evening for us.

Finding the Story – An evening with Alice Vander Vennen

Anna VanDelman writes:
On March 16, 2016 three dozen women and men from The Pomegranate Guild of Judaic Textiles Toronto and Congregation Darchei Noam joined together at  Darchei Noam for a wonderful evening of textiles co-presented by the two organizations.  We were thrilled to see the Guild’s current exhibit “In Celebration” on display in the synagogue social hall, with our pomegranate grid hanging on one of the public feature walls and Melanie Siegel’s marvel hanging over the main stair.

Wearing two hats – one from each organization – Sara Levine Petroff introduced our guest artist, Alice Vander Vennen. Alice is an artist of Dutch parentage who presented a slide show with comments, explaining how the methods and materials of her art are related to her life. Alice juxtaposes text with natural and found objects scavenged from many sources. She works intuitively with a strong basis in composition and colour. Many of the pieces are large and rich in deep colours 18″ by 50: some forming portraits. In other works, a canoe-like shapes of sticks and wire speak of journeys.

Alice then led us through a hands-on session of collage and composition. She shared some of the tips and tricks that work for her: using a frame to test a composition, cutting and repositioning, reaching for “just the right detail.” At one point in the evening as she was teaching her technique she looked down at her clothing and cut a large button off the jacket she was wearing. Though we all gasped and held our own clothing closer to us we realized that for Alice, inspiration is everywhere. This was an evening of pure magic. Thank you Alice for allowing us a view into your own creative process.

If you want to get your socks knocked off visit Alice Vander Vennen – Original Works

An evening of Bling! Bling! Bling! Turning Trash into Treasures

Anna VanDelman writes:

On this winter night, two dozen Pomegranate members came together with the warmth of camaraderie for an evening workshop, turning trash into treasures.

Paula Miller – teacher, exquisite fabric artist, designer, inventive recycler – presented instructions for the transformation of junk into brooches using discarded beads, threads, paint, fabric charms etc. Members brought their own stash items and The Guild brought out enormous quantities of resource materials.

Thanks to Paula’s display of items she brought and created for this project, we were inspired to create our own new treasures. This programme reminded us of how important it is for us to work on various projects in an atmosphere of friendship and shared ideas.

Thank you Paula for a memorable evening!

 

We got hooked!

Janis Katz writes

“GET HOOKED” – it’s not what you think!
Continuing this year’s theme of “Do Not Waste”, Guild members and guests spent the evening learning about, and practicing, the art of “hooking” (or sometimes “prodding”). This event was co-presented and hosted by Congregation Darchei Noam. Evening Bag

Our Guild secretary, Barbara Goldstein [see more about Barbara below], gave us a primer on (rug) hooking: she showed us stunning samples of her own work (bags, chair pads, cholent trivets) and then demonstrated how it’s done. The supplies are few: latch hook canvas, a crochet hook (or chopstick), and a darning needle. Then there’s the fabric: everyone grabbed their favourite from the Guild stash – chiffon, velvet, cotton, wool, etc. – and started tearing or cutting thin strips about 1 cm wide.

With this technique, you start on the edge first. Fold back one row of the canvas and whipstitch or overcast using a darning needle threaded with a fabric strip. Then you use your crochet hook or chopstick to fill in the grid. “Hooking” uses a crochet hook to pull up fabric loops in each grid square. “Prodding” is done with a chopstick, to push loops down in the grid. The loopy side is the right side.

Everyone had a great time tearing strips of fabric, hooking and prodding, and chatting.

A tip from Barbara: you could “get hooked” on this technique and be tempted to go out and buy fabric, but remember – do not waste, use your stash!

The Guild was delighted to be able to partner with Congregation Darchei Noam for this event, and we’ll be partnering again in March and May of 2016.

 A note about Barbara: Barbara is a graduate of Sheridan College and Nova Scotia College of Art and Design, Textile Studios, as well as an active member of The Pomegranate Guild of Judaic Textiles, Toronto. She has exhibited in many art shows, most recently “The Edge of the Forest”, now traveling across Canada. All completed work shown in this post are Barbara’s.

Shirts Galore and A Trip to Japan

Anna Vandelman writes:

Shirts Galore!
What a lovely evening! What a lovely programme! What a lovely turnout! What an amazing group!

Rapunzel - courtesy of Susan Avishai

Rapunzel – courtesy of Susan Avishai

Susan Avishai was introduced to us by Rikki Blitt as a heroine to the environment and saviour of all sorts of trash en route to landfills everywhere: A perfect way to start the season as our theme for the year is Do not waste – with a focus on reuse and recycling. [About Susan]

Susan, already a fine artist in drawing, painting, and collage, shared her journey to fibre arts through pictures of her work. She told us how she got into fibre arts after cleaning out her late mother’s belongings. After grieving over her mother’s clothes for six months, Susan finally found herself able to do something with this new stash. So, she moved from painting to textiles to making tapestries of her mom’s remnants. She discovered through life that it is in fact the journey and not the destination. She fondly remembers a teacher who told her “…you will feel when its right”.

And then, men’s shirts galore! We saw an incredible collage of men’s shirts, shirts taken apart with seams and buttons intact all quilted with polyfill. She works on smaller pieces and then sews them into larger works. Her goal, always, is to see what she can do with what is there. No, she is not sexist, she uses men’s shirts because of their uniformity of construction which lets her apply a system to their deconstruction.

The evening became magical as we witnessed the transformation of trash to exquisite art pieces .created by a visionary with a deep concern for the environment. Thank you Susan for this memorable experience!

Rikki then thanked her for a magnificent presentation and for kick-starting our year of Do not Waste and members had an opportunity to share from their own stashes.

The theme continued in October with A Night in Japan, and Karen Sanders writes:

Our October meeting included a lesson in Japanese Furoshiki and a visit to Japan through the eyes of our President.

Furoshiki
Four women from the Japanese Cultural Centre came to tell us the history and to demonstrate the ancient Japanese art of Furoshiki, the use of textile squares for wrapping. Furoshiki refers to a flat folded bundle originally used to carry clothes back and forth from the bath-house. With current environmental concerns, there has been a revival of this old practice.

The most common size of fabric for wrapping is an 18” or 24” square of fabric. A silk scarf is ideal for the purpose of wrapping, though other sizes and fabrics can also be used.

There are many uses of Furoshiki including carrying, storage, gift wrap, wall hanging, tote bag, carrier for contributions to a pot luck meal. The squares are easy to maintain, eco friendly, easy to fold flat. The squares can be left as gifts or put in a pocket or purse to reuse.

Our guests demonstrated the basic knot, flat object wrap, basic carry wrap, bottle carry wrap, hand bag, watermelon carry bag, and shoulder bag. We had an opportunity to try our skill at wrapping.

The art of Furoshiki is simple, elegant, useful and fulfills our mission of reusing and recycling beautiful fabrics.

Living Singly and Jewishly in Japan
Nearly thirty years ago our President, Bruria, was young, single, teaching English and living in Japan. She found that it was easy to be Jewish because there was a synagogue and community centre, which included a swimming pool. Expatriate Jews gathered regularly for Shabbat dinners and for Jewish holidays.

In a slide presentation, Bruria illustrated a number of Jewish subjects she encountered in Japan. These included a Japanese Yiddish Club, The Fugu Plan (a book telling the story of how the Japanese rescued Jews during the Holocaust), the story of Chiune Sugihara, who gave exit visas to Jews during World War II. There was a Jewish dentist, a Chabad branch with a mikvah and a Japanese man who had converted and become a Rabbi. There was a man with an excellent collection of Hebrew manuscripts and a Japanese pro-Israel group.

The rest of the slide show illustrated the quirkiness of the Japanese. Bruria shared such interesting things to be found in the grocery store as bottles of diet water, hard boiled eggs in a tube, and sushi with “Hello Kitty” faces. She showed us a road going through a building and some of the many space saving devices like shoe drawers on the underside of steps or a combined toilet/sink. There were dogs dressed in kimonos, women dressed as dolls, and men dressed as women. These are just a few examples. Bruria had a good time in Japan, but we are glad she came back to us!