Caroline Schofield

Posthumous Memory – selected for CCOI & GANS exhibition Tread Softly

 

So who is Caroline Schofield ?

I am a Textile Artist working in Endangered Studios and a member of Filament, a group of Irish Textile Artists who exhibit individually and as a group. This year we are working towards an exhibition in Airfield, a farm in the heart of Dublin. We have been given funding for this project from the Crafts Council of Ireland and DunLaoighaire/Rathdown Arts office.

 

Layers 800 – Detail, Overlooking Kilkenny Castle

 

Where in the world are you?

I live in Kilkenny, Ireland. Kilkenny is a centre for Arts & Crafts with many Artists and Crafts people working in the area. It also has the Crafts Council of Ireland Headquarters and Gallery, Butler Gallery and an amazing Arts Office with one of the best Arts Officers in Ireland (in my opinion!).

 

When did you decide to become a maker?

About age 4!

 

Layers 800 – Commission Kilkenny Courthouse, String and Fleece

 

What made you choose the materials that you work with?

I mainly work in Textiles. I love the feel of them and being able to manipulate the fibres. My great grandfather came to Ireland as a master dyer, my grandfather and dad worked and my brother works in the Textile Trade. It’s in my blood.

 

What other materials would you like to work in?

I’d like to learn how to weld to combine other materials.

 

Woodstock – Detail of Public Art Hangings made with the Public

 

Where do you get your inspiration from?

I think ideas come from my own experiences in life but they are backed up with reading and research.

 

What motivates you?

Chasing down an idea! I love working with an idea and exploring it.

 

Installation – Unravelled Drawing

 

Do you create your work in a studio base or a home base?

I work in Endangered Studios in Callan. http://endangeredstudios.com These artist studios are based in buildings that are to be re-built/constructed. When I started there, there were no windows or heat but I needed to work outside of home to take myself seriously. The building was to become a health centre but when funding fell through (due to the Irish economy) our studios became a bit more permanent. We now have windows and heat! It’s still very basic but it suits me as I have a large bright space and there is only ideas and work there.

 

Crafts in the 21^st Century – what does this mean to you?

I would like to see craft and art on the same page. This language is still problematic in Ireland. I also hope it means that sculptural textiles is given as much recognition as sculpture in traditional hard forms.

 

Side by Side – selected for CCOI Exhibition at the Hunt Museum

 

Q How do you sell and promote your work?

My work is one off and installation based so exhibiting, and submitting work to curated exhibitions, and looking for opportunities with my Arts Office and Crafts/Arts Council.

Last year I was shortlisted for a large commission piece, Layers 800 http://www.youtube.com/watch?v=g2GmGy0mXTE  That came from doing a public art training project with Chrysalis and Kilkenny Arts Office.

My website : www.carolineschofield.ie

Ebb & Flow – Selected for Sculpture in Context - Fleece and Cotton

 

What is your typical working day look like?

Hectic, with three children I work around them but that means I am always working.

 

What is your working style?

It can be chaotic when I am chasing an idea but once a piece has to be made it head down until the piece is finished.

 

Mourning Pots – Hunt Museum

 

3 words of advice for an aspiring Craft artist/maker...

1. Believe in yourself,
2. Know your craft inside out,
3. Get a good camera.

 

Reflected Growth – selected for Sculpture in Context - Cotton, Rust and Manipulated Fabric

 

Who is/are your favourite artist(s)/maker(s)?

Alice Maher

 

What music do you listen to?

Everything....but I love Opera and Choral Music.

 

Woodstock – Training for Real, Public Art

 

3 likes and dislikes?

Likes:

• Exhibitions
• Lecturers who open my mind!
• Curators (good)

Dislikes:

• Politics, specifically Irish Government Parties
• Lecturers that I need a dictionary to understand!
• Curators (who believe they are more important than the work showing)

What do you do to relax?

Eat meals with my family and friends, read, play badminton.

 

Swimmer – Oil Paint and Pieced

Andrea Graham

Adaptations (detail image): Wet Felted Finnwool and Silk Fibres.

At the Canadian Guild of Craft in Montreal.

 

Q So who is Andrea Graham?

I am a full time artist as well as a wife and mother to three boys. I have a home studio which allows me to be available and keep everything running smoothly. I am active in my arts community locally, provincially and nationally, connecting with other artists and promoting fine craft.

Q Where in the world are you?

I am in village in Ontario, Canada with Toronto and Montreal 2.5 hours away in opposite directions.

 

Adaptations 2

Currently Touring Europe with International Felt Exhibit - "The Climate is Changing"

 

Q When did you decide to become a maker?

I decided to become a full-time maker 10 years ago. I found the craft of feltmaking shortly before and joining an artists in business group was the catalyst in making it my official “job”.

 

Q What made you choose the materials that you work with?

I spend my early art years feeling like I was not good enough. There was not a medium that I felt I could truly express myself creatively, one that I could immerse myself in with every sense. The materials restricted me. When I found feltmaking, I was able to experience the material with every sense. The fibres are tactile, malleable, colourful (or not) and smell close to the land. It was completely intoxicating and had me addicted. The versatility of the medium was like an open door to my creative soul.

 

Liberatio Captivus: Wet Felted Finnwool on Wood.

Currently touring with FiberArt International (USA)

 

Q What other materials would you like to work in?

There are many breeds of wool to explore, and infinite combinations, all with a story to tell. My friend, mentor and author, Christine White, speaks of “Fibre Dynamics”. Through her I have learned that each wool has it’s own language and, with every experience, I gain a deeper understanding of the medium. I feel little need, at this point, to seek other materials.

 

Q Where do you get your inspiration from?

The materials are an inspiration to me, architecture, photography, forms in nature, destruction and decay. I try to live each day with my eyes open and inspiration is something I am never short of.

 

Big Pods: Installation for Andrea’s Solo Exhibition "Adaptations" (8ft tall)

 

Q What motivates you?

Deadlines! I have commitments to galleries and clients that I must meet to maintain my image as a professional business person. My other work often is set aside until it cannot be contained any longer. I often wonder if this tension and anticipation is part of my necessary process.

 

Q Do you create your work in a studio base or a home base?

Both. My studio is in my home. I have a large space in the basement with all my materials, sinks, a window and large high tables. It is my sacred space. The children know there is no fighting, no sneaking up on me and no nerf guns allowed. They respect this… most of the time.

 

Andrea with Big Pods – Adaptations Solo Show

 

Q Crafts in the 21^st Century – what does this mean to you?

Being a mere 10 years in the world of craft, I am just a babe. I am not sure if I can answer this with any educated or historic perspective. This being said, as an Ontario Craft Council board member and active crafts person, I can say I am frequently awed and moved by the work I see in craft right now. There is both technical and design excellence and, on the other side a strong movement in conceptual art expression in craft medium (with less focus on the execution/craft excellence) and the DIY movement. I proudly consider myself a craftsperson and strive to achieve technical excellence, good design as well as concept. I think “craft” is at an interesting time as I our ideas of “function” evolves. By this I mean our changing perception of what we “need”.

 

Q How do you sell and promote your work?

I sell my functional craft in a couple of galleries and sculptural work at others and I accept commissions. I promote my work through exhibitions, my website (www.andrea-graham.com), and in magazines and books.

 

Adaptations 3: Collection of Wet Felted Sculptures

 

Q What is your typical working day look like?

“work” as an artist includes computer work, correspondence, applications, photographing work, reviewing contracts, packing to teach, developing workshops, etc. What “work” I do is determined by my schedule which is often set a year in advance.

   

Q What is your working style?

When in the studio, I get distracted easily and often take breaks or switch gears. I used to think this was a lack of focus, but now know these are necessary breaks in my creative process. I just know it will take me lots of time to get something done.

 

Specimens: Wool and Silk on Clay

 

Q 3 words of advice for an aspiring Craft artist/maker...

• First and foremost: Commit. Commit to your craft. When people ask, “What do you do?” Tell them without reservation. If you don’t believe it, how will you convince others?
• Back it up by becoming the best you can become in your area. Make a “bucket list” of who you would like to learn from and make it happen.
• Treat your craft/art as a business. You are a small business owner. Get a tax number and march into the local business development office and ask what support/education they offer for small business owners. Connect with your arts community. Enter shows. Get involved, but not so involved that you have no time to create.

 

Unearthed: Wet Felted Finnwool

Image by Tracy Olan. On exhibit at the Canadian Guild of Craft in Montreal

 

Q Who is/are your favourite artist(s)/maker(s)?

There are so many around the world in so many different fields. I love political work and work that possesses terrible beauty such as in the photography of Lana Slezic. I also love land art which is practically synonymous with Andy Goldsworthy. I also love the architecture of Frank Gehry and Michael Graves. The technical excellence of Jorie Johnson is what I strive for in felt.

Q What music do you listen to?

I listen to very little music. I am a public talk radio junkie.

 

Exposed: Superfine Merino Wool and Karakul Wool Locks

 

Q 3 likes and dislikes?

Likes: good food, red wine, time with my family.

Dislikes: clutter, telemarketing calls, excessive noise.

Q What do you do to relax?

As with most people, I have to think about what “relax” means to me. With 3 boys and a busy life what do I do to relax? I think being in the studio and giving myself permission to create something that is not to sell, not to show, but just to play. That is relaxing.

 

Harvest: Andrea’s Installation Piece

Performed on the International Day of Felt (FeltUnited 2009.)

Image by Tracy Olan

Amanda McCavour

 

Stand in For Home – 2009/2010 (Thread Installation 8ft x 10ft x10ft) 

Q So who is Amanda Mc Cavour?

I am an artist working and living in Toronto, Canada.
 

Q You work in textiles but is there any other medium you work in or would like to work?

I like printmaking and working on paper with pencil and pens. I've recently been making thread work about lined paper and folds (see folded fortune image), so maybe this is bringing me a step closer to working with paper.

I studied drawing, printmaking and installation when I went to university. I was in a drawing class that was trying to expand our notions of what drawing was, so in this class drawing could be anything that used line. I thought that thread would be an interesting line to use in drawing and thought that it would be even more interesting if I could create a thread drawing that was just line. So I did some research and found a water soluble material that would allow me to sew into it and then dissolve the base.

Since what attracted me to thread was drawing, I think I will return work on paper, drawings and sketches. Printmaking is something I would like to do more of as well.

 

Stand in For Home – Detail of Wallpaper

 



Q How would you describe your work?
I would describe my work as being drawings that are made out of thread.



Q Do you create your work in a studio base or a home base?

Right now I am creating my work from home studio. In the past little while I have worked in a couple different studio environments. I recently completed a three year residency at Harbourfront Centre's Textile studio in May 2010. Harbourfront's studio was a shared space where I worked along other craftspeople and artists.

Since then I have gone to do another residency in Dawson City, Yukon, where I worked in a historical home called McCaulay house. After returning to Toronto, I have been working from my home studio, which consists largely of a big wooden table, my sewing machine, lots of thread and many other small random items and materials.

 

 Home Studio

 

Q What does your typical working day look like?

I guess there aren't too many typical days for me. There are other days that I spend writing, or visiting galleries, or installing work. As for days spent in the studio making work, things change a lot depending on the type of project that I'm working on. Sometimes I do a lot of drawing before I start sewing, while other times I will not have to do much prep work at all.

When I'm at home and working on pieces, I spend lots of time sewing on my sewing machine. My work requires a lot of sewn lines overlapping to hold the work together and recently I have been working doing bigger installations, so this translates into a lot of time with the sewing machine running. Some people say this sounds a bit like a helicopter, so I try to not work too late but as deadlines approach, my end time usually gets later and later! So, I wake up, drink coffee, answer emails, sew, take a break, sew some more!

 

Three Tangles

Q What is your working style?

I am a bit of a night owl. But maybe I am not a morning person because I stay up too late! I like it when my work space is organized but there are times when things get out of hand. I like it when the dishes are done before i start working.

Its hard for me to work on more than one project in a day, I have recently discovered. I think it takes me a bit of time to get into working, so after I start one thing, I don't really want to move onto another project. Long stretches of working time are something I really like. Big chunks of the day to actually get into the work. I find it hard to work for just an hour.


 

Compound Tangle

 


Q How do you sell and promote your work?

Some of my work is sold though a gallery here in Toronto, Lonsdale Gallery, http://www.lonsdalegallery.com/. I also have a website http://www.amandamccavour.com/.
 


Q What is your greatest achievement to date?
I think my greatest achievement was a piece that I made titled "Stand In For Home" which I made with the support of the Toronto Arts Council. I made this piece for a show at Harbourfront Centre's Main Gallery which was curated by Patrick Macaulay and Melanie Egan called "It's a Big Deal".

This installation was a thread rendering based on part of my kitchen in my previous home. I am interested in the vulnerability of thread in relation to the home, as both things feel temporary and fragile. Making this piece required me to re-visit, remember and re-create a space that I called home but is no longer mine.  This piece is a stand in, a synthetic, re-created version of home.

Creating this work combined two different bodies of work or projects that I had been working on; my life sized self portraits and small diorama pieces that I had made with Metal Smith Margaret Lim  (see forest image). The scale of the first series and the layering of the second really came together in this piece.


 

Compound Tangle – Detail

 

Q Crafts in the 21st Century – what does this mean to you?
I graduated from a fine art program at York University. I had always been interested in Craft and craft materials. It was at school that I began working with thread, but it wasn't until I was awarded a residency at the Harbourfront Centre's Textile Studio, after I graduated, that I was able to work with other artists and designers working in the same craft media as myself, along with other materials such as glass, metal and clay.

I think that my experience working in that craft studios at Harboufront changed my perception of what craft is. I think craft in the 21st century means a community of people and makers. A group of people making work and challenging materials and processes.

Forest – Collaboration with Margaret Lim

 

Q What music are you listening to at the moment?

I'm listening to the new Arcade  Fire album "The Suburbs".

 

Folded Fortune

 

Q Who is/are your favourite artist(s)/maker(s)?

There are too many! Here are a few...
Kristiina Lahde's and her cut paper envelopes
Dorrie Millerson's small lace sculptures
John Dickson's mixed media sculptures
Kathryn Ruppert-Dazai's narritive knitted pieces
Do Ho Suh's fabric interiors
Marianne Lovink's plastic botanical sculptures


 

 Hard Twist – Gladstone Hotel

 

  Hard Twist - Detail

 


Q What do you do to relax?

I like to go for runs or bike rides and I try to make time for these things each day. I like to go on walks around the Junction, where I live in Toronto to look at vintage and antique stores with a cup of coffee in hand. Eating food with friends is always nice and going swimming in lakes in the summertime has got to be in there too!

Hands