A COMMON THREAD - Linda Leviton

Linda has created a full fashion ensemble from Sue’s fabric. Of the work, she says:

Title: “Myriade”

 I have always admired Sue Cavanaugh’s work. I got to know her through a small artist critique group here in Columbus. We shared our work, discussed our stuck points and supported each other’s process.

 At the time of my life when I met Sue, I was returning to an earlier practice of using vintage clothing in wall-hung fiber work. My fascination with clothing has been part of my life since I was a child. My grandmother and mother worked in a secondhand clothing store. I often picked out pieces when I visited them at the store and acquired much of my college wardrobe shopping there. Now we call it thrifting.

 My return to using clothing coincided with a slowdown of my commission work in metal due to the Covid pandemic.  I began experimenting with fiber techniques on thrifted clothing.  I felted, dyed, stitched, cut and printed fabric then used it on upcycled clothing.

 Sue showed me her technique of running long stitches through old curtains, parachutes and sheets and how she sprayed dye and paint on these pieces to accentuate the manipulation of form and texture. I used some of these techniques as well as countless others on upcycled clothing work, as I remade over 200 denim jackets in 2023.

This piece is a marriage of Sue’s fantastic sculptural threads and my love of making and manipulating clothing. When I first began to engage with the material I chose from Sue’s work, I thought about making a dress, but just making a dress was not enough. I hand sewed the dress over a mannequin leaving much of what made Sue’s work so distinctive as a focal point. But the garment was not complete and needed my energy in it. To stay with the repurposing vibe of the piece I used industrial felt that I had previously reclaimed from a dumpster. I think Sue would have loved me using these scraps to assemble a cape or train for the dress.

The train is an example of quilting small pieces to make a whole. The lengthy fringe is embellished with beads and threads to represent and mark the long hours of crafting such a garment and a way to echo the elaborate stitching on the dress.

This piece could be a ceremonial garment or gown worn by someone with power.  It represents the power of a single stitch, the resourcefulness of the artist in finding beauty in materials that others might discard, and the artistry of the feminine hand.

A Common Thread - Alice Carpenter

Alice was “on it”!! She was one of the first ones to complete the work for the shows (not that it was a race or anything), and it’s beautiful. Two small fabric pieces, described below:

Artist Statement.

“At first glance the idea of collaboration felt daunting.  Sue’s “for the wall” fabric works are big, bold, and most, with glorious color.  My works on paper are small in scale, intimate, and expressed in a neutral palette. Where was our “common thread”?    I was immediately drawn to her physical thread work, and knew I wanted threads to play a strong visual role in our collaboration.  In the beginning, I focused on Sue’s work without thought to what my work is about. It was not until I started to consider the themes I gravitate toward, that possibilities for compromise took shape.

I found inspiration in landscape to be a common thread. Of Impermanence, is a marriage of Sue’s fabric and love of color with my use of monotype and collage.

In Memento Mori, the structure, a reoccurring theme in my work, stands alone, as we each, in reality, stand alone.  The most intimate, important areas of life are lived behind closed doors.  Here, my structure and neutral palette play out on Sue’s fabrics in a monotype collage.

Each work, Memento Mori and Of Impermanence reflect on the inevitability of death and how we choose to celebrate life.”

Bio.

Alice Carpenter, printmaker and painter, has devoted her printmaking practice to the monotype since 2014.  Her monotypes have received recognition in numerous regional juried exhibitions, as well as national juried shows, including The Butler Museum of American Art 85th National Midyear Exhibition, Directors Award, 2021. Recently, she was honored to have two of her monotypes selected and published in the Fall 2023 online Decoy issue of The Harvard Advocate.

Her work often reflects the nighttime magic found, as a child, in Appalachian Ohio. After the past 50 years of “city living” in Columbus, Ohio, a recent move to Wallingford, CT, has returned her to her rural roots.

Another "take" on gallery representation (by Char Norman)

A Case for Gallery Representation

As a professional artist, a strong case can be made for the key role the gallery and gallerist play in the life and success of a visual artist. An on-going discussion of gallery representation for artists questions the need and reasonableness of the percentage of art sales retained by the gallery at the expense of the artist. This is a short-sighted view of the importance of the role the gallery plays in the career and development of the artist. I have spent time perfecting my artistic voice and techniques, while the gallerist has spent time honing business, marketing, and promotional acumen. 

My job, as a successful artist, is to maintain studio hours in which I develop concepts, perfect my technique and create the work that defines my career. Without the gallery, I would be pulled away from the studio to address the needs of my art business. These duties would include records from sales, inventory, tax records and all other accounting duties. Sales of the work would involve packing, shipping, and or delivery of the work. A major role of the gallery is publicity and marketing of the work through social media, press releases, articles and print materials. This does not even begin to address exhibitions and all that involves; from identifying spaces, transporting work, designing and installing the work, staging receptions and special viewings, and finally striking, packing and returning work to clients or to storage. If I were to do all of these things myself, I would have little time to actually create the work. 

One cannot be an expert in all things. I have no aptitude or inclination to learn, let alone, become an expert in the many duties the gallery performs for me. A good gallerist has connections and a client base, makes contacts, educates the public to the value of art and the voice of each individual artist, and teaches clients how to develop and maintain a collection.  

An eye for good art and the knowledge of the art market and its trends, serves the artist in myriad ways from placement of work, sales, constructive critiques, to the pricing of the work.  

Expenses associated with the development of artist’s career and the promotion of the work is the responsibility of the gallery. These costs include all overhead involved in maintaining a physical space, bills incurred to promote, ship, develop relationships, hold receptions, install shows, and countless other details of running the business. As an artist, I have the cost of creating the work and maintaining my studio. The percentage of sales maintained by the gallery, is in effect, the fee I pay the gallerist much as one would pay any professional who does work for you.  Without the partnership between gallery and artist, many artists would not be able to maintain and thrive in their chosen work and careers. 

Char Norman

From Caren: I’ve asked some of the artists what their thoughts are on galleries and representation, after fielding a few comments from potential collectors, so that the public may better understand an artist/gallery relationship. It’s so important that we make the case for each of us having our own, critical, valuable role to play in this business. I’m proud of what I do for the artists and for the community. I hope only to convey that my ultimate purpose is to expose and introduce great artists to this great city.

Char has shown with Muse Gallery for years. I am passionate about Char’s work; so passionate, in fact, that I own one or two myself.