Temma Gentles reminds us that it’s time for a celebration! Torah Stitch by Stitch achieves its 2nd anniversary with “awesome engagement, new scans & illuminations.” For more details see Engagement and Amazement. And help continue the project.
Anna Vandelman reports:
Meeting March 18th, 2015
Our Artist in Residence, Laya Crust, took us through an extensive review of Passover just as we entered the last few weeks of making our own Pesach.
She shared the artistic history of the Haggadah with a table full of beautiful examples. She showed us how the art in each Haggadah revealed local customs as well as social and political issues through elements such as clothing, furniture, buildings, symbols, and artistic style. The first printed map of Israel occurs in a Haggadah of 1526, the first etching of the Four Sons in a Haggadah of 1695, and the political aspirations of the Jewish Brigade are expressed in its Haggadah of 1943. And, we see how marketing gimmicks promote the use of particular Haggadot: Once coffee was available kosher for Passover, Maxwell House capitalized on that by providing a Haggadah with the purchase of a jar of coffee. We can see in the variety of Haggadot that its themes are continually reinterpreted, in text, but especially in art.
Members then examined Passover artifacts brought in by other Guild members. And we all started working on a hands-on activity of designing a Passover apron: to wear for getting the kitchen clean, making the chicken soup or gefilte fish, or engaging younger members in the family in the process. Thank you Leah for an exciting programme.
Meeting April 15th 2015
Our April meeting was an exciting co-presentation by the Pomegranate Guild and Darchei Noam synagogue, at Darchei Noam. The lecture and exhibit of her art by Dr. Myriam Nafte blew us all away!
Sara Petroff, Chair of the Art Committee at Darchei Noam welcomed us all and introduced Pomegranate Guild president Karen Chisvin. As this evening was the eve of Yom HaShoah, Karen commemorated the event with remarks that honoured the martyrs, survivors and resistance fighters, the Hagvurah and then introduced the artist/speaker Dr. Myriam Nafte.
Dr. Myriam Nafte is a woman for all seasons, involved in medicine, anthropology, mathematics, mysticism, forensics, science and Judaica (and, oh yes, art). She began as a textile artist doing aleph bet paintings on silk: a tapestry of Jewish thought, words of wisdom, words of praise. She uses text as powerful imagery. After many years of examining anatomical and other scientific texts for their drawings, Myriam spent a period of time learning Hebrew calligraphy from her sofer/artist father. This brought her back to those same scientific texts with the discovery that Hebrew was a significant scientific language, not just a language of ritual and religion. In the Middle Ages, the Renaissance, the early Enlightenment, Jews were involved in science, math, and cosmography. They invented navigational instruments, and other tools and techniques – so many rich contributions hidden and lost. Myriam’s work recovers and re-situates Hebrew text for us as a language of art.
After the inspiring lecture we toured the hall to view incredible paintings by both Myriam and her father.
The Edge of the Forest exhibit will soon be moving from Richmond Hill to downtown Toronto. This announcement was posted on fibreQUARTERLY Group(ies). More information here and here. Work of 53 Canadian surface design artists is on exhibit, including work by Guild members Melanie Siegel and Barbara Goldstein. And, Rikki Blitt plays a significant role in the administration of the project.
Celebrate: Saving a Textile Legacy – October 22, 2014
Anna VanDelman reports:
Shila Desai introduced us to a world of cultural heritage, pride of artisanship and survival, glorious colour and renewal. We were taken into this incredible, kaleidoscopic world of magical colours, and their near loss in Gujarati communities. After a long period during which traditional skills were passed from generation to generation, dyeing skills, block-printing skills, and stitching skills have been threatened with extinction.
In some communities, the important ground water levels have a dropped and the water has become contaminated: new and improper technologies, industrialization in general, a younger generation attracted to more leisure time, and the disruption of trade patterns following the 1947 partition of Pakistan and India have all contributed to the erosion of this precious legacy. Six hundred years of this art was about to be lost. Now, how to protect and revive this legacy so crucial to women’s dowries and local economies? In some cases, it is WOMEN TO THE RESCUE! NGOs directed by women philanthropists get together to preserve traditional crafts while bringing them into the 21st century. Success leads to success and now over 100 villages and 22,000 women are benefitting.
See more by following the video links. And, experience heritage textiles for yourself by joining Shila on of her tours to India, Tanzania, North India and Sri Lanka. “BON VOYAGE.”
Photos by Janis Katz
Textile samples courtesy Shila Desai
A message from Sheila McCoy at the Ontario Needleworkers’ Network:
Hello everyone –
Bruce County Museum has created this lovely poster for Threadworks 2014.(http://www.brucemuseum.ca/whats-happening/exhibits-and-galleries)
If you are in the area – out for a drive – perhaps you could drop in to see the Show.
Last year we co-hosted a screening of Through the Eye of the Needle, the story of the work of Holocaust survivor Esther Nisenthal Krinitz told through her fabric collage and embroidered panels. This year at Temple Sinai you can see the exhibit it inspired from November 2 – 21. A special screening of the film is part of Holocaust Education Week on Sunday November 9 at 10am. Esther’s daughter Bernice Steinhart will introduce the film, and Ian Leventhal will lead a discussion following. The exhibit continues at Temple Sinai until after our next Pomegranate Guild meeting, so be sure to see the detailed work of this extraordinary artist.
Anna VanDelman reports
Our April 2014 meeting was brought to you by Judith Leitner – Director of Visual Arts and a founder of The Toronto Heschel School – and by the letter Shin “ ש” (with apologies to Sesame Street).
Judith teaches in an arts-based integrated curriculum with a strong environmental ethos impelled by ethical behaviour. She develops the visual arts programme and wrote a Judaic Arts Compendium (see http://www.torontoheschel.org).
Judith led us through a series of activities that helped us see how letters can be expressive. What does the word Sh’ma “שמע” mean? The letter form has three branches. The dot makes it a ‘shin’ or a sin, depending on its placement. Are the three arms of the letter equal or not? What happens when we change their size? We looked at the essential elements of design: Line, shape, direction, size, and texture. We used big arm gesture drawing to create a “shameless Shin”. Is it straight? Lying down? Upside down? And then we made a “shy shin.” Is it small? Is it hiding? We continued with more variations on the theme of “Shin” (for example, “Shin” in shock).
And then we were invited to think about our personal connection to the “Shin.” We shared feelings about the letter, most of us relating to the Sh’ma and other words that begin with the same sound, “Sh”. As texture plays an important role in art, we concluded the evening by selecting or designing a “Shin” and interpreting it in textiles. President Karen Chisvin thanked our guest for leading us in an interesting workshop that opened a new window of discovery on a Jewish theme.
Anna VanDelman reports:
Our March meeting was a wonderful overview of the Torah Stitch by Stitch project, and its status to date. Honey Mitchell introduced our presenter, Temma Gentles, founding member of the Guild and award-winning textile artist.
Temma explained her unique project “Torah Stitch by Stitch”, a call to action by the morning prayer, “Awake to the Torah”. The project currently has over 700 volunteer stitchers involved from all around the world, including Guatamala, Zimbabwe and Viet Nam.
For Temma the project began to form conceptually when she and her husband Paul were in Israel on sabbatical at Ein Hod. She was inspired by the work of a number of Orthodox Jewish artists. Temma shared a sampling of this work with us, including the paper-cut work of artist Jacqueline Nicholls which uses traditional art forms to show the anger of women who are not able to participate in religious activities. We also saw a kittel for a woman – usually a man’s garment – which resembled a straight-jacket. Artist Andi Arnowitz used a variety of artistic media to express ironic and angry messages and included a coat for an agunah made of cut up Ketubot and worry beads the size of baseballs.
A self-described “fontophiliac,” Temma then gave examples of her letter-form inspirations. She showed fonts from Ben Shahn‘s book, The Alphabet of Creation, explained the sofer’s guidelines of STAM: Sefer Torah, Tefillin, mezuzah. She shared the work of amazing calligrapher and sofer stam Izzy Pludwinski in his book Mastering Hebrew Calligraphy and his contributions to the Saint Johns Bible (SaintJohnsbible.org).
Temma showed us sources for cross-stitching text and for large collective projects. We saw samplers cross-stitched onto aida cloth which were used to teach very young girls and women to sew and to read. These young women then went on to stitch quotations and family genealogies, which then became family records.The Quilt of Belonging had its inaugural exhibition in 2005. Assembled it is 36 m long and includes representation from 263 nationalities in Canada.
All of these influences have contributed to the project that will see the Torah cross-stitched in 4-verse segments by 1463 stitchers. It will far exceed 36 m! Each stitcher who registers receives a kit with the base square of aida cloth, black embroidery floss with pointers about stitching, and the stitcher’s four verses graphed as a guideline.
Temma showed completed pieces by a number of participants along with comments about the work. She pointed out that nearly every stitcher has a personal story that emerged from participating in the project. Then Guild members Brenda Conway and Kristina Landstrom-Jaffe showed their newly submitted panels (not yet proof-read or blocked), and Karen Chisvin showed her completed log. Brenda’s panel embellishment is a cross-stitched representation of one of her husband’s – artist Jerry Conway – landscape paintings. Kristina’s was an interpretation of the discovery of Moses in the bulrushes using Egyptian inspired motifs for papyrus and holy water birds.
Temma concluded with the exhibit concept by stage designer Philip Silver. It will literally be a walk through the Torah. The completed Torah will be 8 feet high and as long as a football field containing 1463 portions. It will be configured for viewers to walk into, along, and out of the assembled piece. The scope of the project is just emerging. At this point in time the grant request process is about to begin and more organizational infrastructure put into place.
President Karen Chisvin thanked Temma for this unique and amazing presentation. We all wished Temma a “Yascher Kochechah” on her work with this project: “Temma we are used to your doing innovative and unbelievable projects. This will be your crowning glory. So keep on jumping Temma, jump higher and higher. We all hope you grow wings before you hit the ground and may you continue to share your unique and awesome talent with the entire world well into the future.”
All images courtesy of artists and Torah Stitch by Stitch project