Tuesday, August 25, 2015

Hard Twist 10: Memory at the Gladstone Hotel in Toronto

 
Hard Twist 10:  Memory
August 27-December 27 2015
Gladstone Hotel

opening reception will be September 10, 2015  7 pm
Judy Martin will be exhibiting Red Moons in this exhibit about memory.
The jurors (Melanie Egan, Sarah Quinton, Elizabeth Eliott) chose this piece made from the borders of a 90 year old wool blanket because of the beautiful wear-marks in the cloth that came from use.  Human sleep is when we allow ourselves to be vulnerable, not only to cold but also to the unknown dream world.

This cloth holds evidence of years of human touch and protection.
It holds memory.
Judy and her husband will be in attendance at the opening in Toronto, September 10, 2015.
Hope to see you there!!!

Hard Twist is curated by Chris Mitchell and Helena Frei.

Saturday, August 15, 2015

Light of the Moon .....sold at Perivale Gallery


Light of the Moon sold during July at the Perivale Gallery on Manitoulin Island.
It is one of three pieces that Judy Martin has on display at this gallery for the brief summer season.
(The gallery closes just after labour day)

Friday, August 07, 2015

Pop Folk T3XT1L3S is reviewed by Now Toronto.

feel better ..judy martin
Despite its techy spelling of the word textiles, this show from Sudbury's Galerie du Nouvel Ontario curated by Sophie leBlanc and co-presented by Toronto Francophone arts group Le Labo, is not about smart fabrics that answer your iphone or drapes that change colour with your mood.  Instead, four women from the province's north put their own contemporary spins on traditional needlework techniques.
Feel Better, Judy Martin's wall installation of small white cloth packages wrapped in red thread, plays on infant swaddling, bandaging and aboriginal medicine bundles.  it seems unprepossessing at first, but as I worked at Martin's small sewing station making my own bundle with twigs, cloth and string, I came to appreciate the healing power in the act of wrapping, which helped the artist after her mother's death.  Such sharing, DIY activities are an essential part of textile craft.

Mariana Lafrance's small quilt using the diamond pattern called tumbling blocks looks ordinary as well, but the gentle progression of earth colours she's achieved by tinting found textiles with plant dyes results in a subtle, unique harmony.
mariana lafrance
Danielle Gignac\s cozy teepee offers a resting place.  Using saplings as tent poles, she's woven a covering around them from sewn-together socks donated by residents of Sudbury.  Aptly called Walking Home, it draws a connection between garments and nomadic shelter.
sophie leblanc and danielle gignac
The show's techiest work by Greta Grip, translates QR codes into knitting.  Unlike Douglas Coupland, who makes QR graphics into colourful op-arty paintings, Grip sticks to the natural tones of undyed fleece in her small knitted squares, which link to videos of Dot, Sammy, April and Sara, the sheep who contributed the wool.
greta grip
A wall of people's quotes about textiles seems a bit too much like a public service announcement, but this is still a lovely small show by artists not often seen in Toronto, and setting it in a heritage house adds another layer of history. 
Review by Fran Schechter of Now Toronto.  (NNN)
Photos by Marc Lemyre of le Labo
Pop Folk T3XT1L3S is at Campbell House Museum (160 Queen West) until August 9.  
416 597 0227 

Sunday, July 12, 2015

David Kaye Gallery displays Yin Yin this summer

 Yin Yin is currently on display at the David Kaye Gallery in Toronto.
Above, installation shot of the collection display area of the gallery.  Yin Yin is upper right.
Yin Yin is a two sided piece.
The second side has a rougher texture.  Detail shown below.
David Kaye represents some of the most important textile artists in Canada.  Judy Martin is proud to be in the same gallery as Dorothy Caldwell, Sandra Brownlee, Kai Chan Sylvia PtakSusan Warner Keene,  Chung-Im Kim, Tracey LawkoValerie Knapp , and Barbara Klunder among others.

The mixed media paintings of Nova Scotia artist, Donna Boyko are featured in solo exhibition this month until July 26.

Thursday, June 25, 2015

P0P F0LK T3XTIL3S at Campbell House Museum in Toronto June 26-August 9 2015

Feel Better installation by Judy Martin, part of POP FOLK T3XTILES  exhibition 
With Feel Better, Judy Martin explores the act of wrapping, and its healing, feel-good effects. For her, the process of fabrication in textile arts is something that is strongly tied to familial relations, and there are many traces of this in her installation, which includes, for example, wrapped bundles, each with four twigs at their core- corresponding to her four children. Having started to explore wrapping in her art after the passing of her mother, Judy makes the reference of caringly wrapping a baby in a warm blanket, or wrap­ping a bandage for someone who is injured - in both cases, the act of wrapping becomes something that is helpful to another, and that we can associate with compassion, care, and feeling better.                                                                           Sophie LeBlanc  curator of P0P F0LK T3XTIL3S 
POP FOLK T3XTIL3S opens June 26 6 pm reception
Campbell House Museum
160 Queen Street West  (corner of Queen and University)
Toronto  M5H 3H3 and it continues until August 9

The exhibition is in partnership with Le Labo gallery, curated by Sophie LeBlanc.  There is a catalog with curatorial statement and essay on pop and folk art by Sophie LeBlanc.
The artists in the exhibition are:
Judy Martin
Mariana Lafrance
Danielle Gignac
Greta Grip

The goal for P0P F0LK: T3XT1L3S was to find artists who were interested in, or that practiced the use of textiles as an art medium, and to put together a showcase that would consider the relationship between textile practice and popular art.

By using a '133t' language, of vowels replaced by numbers, for the title of the exhibit, I also made reference to numerical coding, and of informational technologies that are integrated in our everyday lives, as much nowadays as artisanal traditions such as the fabrication of textiles would have been in the past.  These digital technologies allow the evolution of craft practices and give new ways of communicating them.  That said, the whole of the project also considers the techniques of textile practices, themselves technologies, as well as the effects of contemporary technology on these traditions, notably in terms of their presence in contemporary art.

The question of popular art, or pop art, also took an interesting turn in the ensemble of the projects.  We find in each work some element of daily life, whether it is a quilt that would cover the bed in which we sleep, or old socks that we have walked distances in.  Presented in the context of fine arts/contemporary arts, this element (of daily life) takes on a new shape: it no longer simply fills a need for warmth or protection for example, but offers a critical spectacle to those who observe it.
The projects chosen showcase an eclectic and interdisciplinary mix of artworks and mediums, all relating to textiles and making reference (either directly or indirectly) to the origins of textile fabrication practices as popular art.  For the artist Mariana Lafrance, the fabrication of textiles is motivated by a return to nature and to our ancestor's practices.  Using natural materials for dyeing, a quiltmaking technique and a three dimensional presentation, she transforms recycled sheets into an optical masterpiece.  For the artist Judy Martin, the fabrication of textiles becomes a ritual, even a spiritual practice that relates to familial life.  Her presentation of wrapped twigs resonates a reflection on mourning and healing processes.  Knitting artist Greta Grip is interested in the integration of new technologies with textile practices, by knitting igital QR codes that link to video documentations of the original resources that allow these fabrications (sheep), by informational diffusion.  Finally, artist-architect Danielle Gignac then explores the role of textiles as shelter, and as an active player in our experience of home.  She creates a tent structure made from recycled socks.

Sophie LeBlanc curator, P0P F0LK T3XTIL3S

Tuesday, June 09, 2015

Our Lady of the Beasts is part of 40th anniversary celebration Grimsby Art Gallery

Our Lady of the Beasts  mid 1990's, stitched paper, acrylic paint, cotton fabrics,
Judy Martin
Judy made this piece shortly after the family moved from Kenora in northwestern Ontario to Manitoulin Island, a mere six hours north of Toronto (instead of 26).  The papers she used are candy wrappers and glossy photo-images of animals from her children's nature magazines.  This piece was shown at one of the first Festival of the Sound art exhibitions in Parry Sound - 1995??? and then it was placed into the Perivale gallery on Manitoulin where it sold into private collection.

Now in the permanent collection of the Grimsby Public Art Gallery and part of that gallery's 40th anniversary celebration, members of the Lakeside Pumphouse Artist Association have been invited to prepare new art pieces in their own style and medium,  based on selected pieces from the collection (including this one).  As Flora Hutterer wrote in an email to Judy, "the contemporary creations will be displayed side-by-side with their counterparts from the collection in this intriguing exhibition".

The opening reception is June 12 from 7 to 9 pm.
Grimsby Public Art Gallery 18 Carnegie Lane, Grimsby Ontario
the exhibition continues until July 12

Friday, May 29, 2015

The Meditation Panels Workshop in Newfoundland this October

 Meditation Panels
This workshop introduces the archetypal symbols and shapes used around the world and across time.  These first shapes connect us without words to our spiritual need for ritual and are the inspirational basis for original and personally scaled meditation panels.  Hands on instruction in Judy’s improvisational methods of working over foundation cloth in combination with traditional hand stitched construction methods and hand embroidery will start participants on a project that will continue to nurture the maker over a period of months.
We will be guided by our sense of touch.  This is a quiet workshop, inspired by the successful Manitoulin Community Circle Project in which 149 women and men made several hand-stitched meditation panels for the local community during four years of weekly meetings.    
Judy Martin's workshop,  Meditation Panels, is a 3 day workshop offered at the conference in Newfoundland this coming October 16,  17 and 18.   Here is a link to the conference .  I can't give you a direct link to the workshop, so follow the links on the main page.   The organizers have put a supply list online, but it is incomplete.   They will be correcting it, but in the mean time, please use the information below.

Materials supplied by the instructor   
($46 )

Judy Martin is bringing the four original meditation panels from the Manitoulin Circle Project to this workshop in Newfoundland.  The opportunity to be close to and touch these inspiring hand stitched works of art is reason enough to take this workshop.

Each participant will take home five samples of specialized silk or cotton threads for hand stitching and at least two new needles.  Each participant will also receive a length of texture magic – a heat-shrink product, two metres of light weight foundation cloth, and a printed hand out.
Materials to be supplied by the student:
a)  Fabrics that you believe look good together.  Choose two to five. Please do not bring your whole stash.  Just bring approximately ½ metre lengths to the workshop.  Try to choose natural fibres – cotton, linen, silk, wool or re-cycled damask table linens.  Ensure that the weights of your chosen fabrics are similar.  Because we are stitching into them, choose solids rather than prints. The fabric can be re-purposed family clothing or domestic textiles or it can be brand new.
b)  cotton embroidery floss that co-ordinates with your fabrics.  (2-3 different skeins)
c)  sewing thread that co-ordinates with your fabrics (one spool)
d) sketchbook 
e) drawing and note taking kit - ball point pen, pencil, eraser and black permanent marker
f) a design cloth:  Find an old bed sheet for this.  You need a cloth that you can draw on.  This design cloth will not be included in the finished work but is important for the design process.  Minimum size about 40-48 inches square. 

The images in this post are of Siska Poenn's hand stitched meditation panel sampler.  Siska is one of the participants in Slow Stitch, weekly meetings in Judy Martin's home community on Manitoulin Island, Ontario Canada.