Monday, August 24, 2020

Unbound Exhibit Reviewed

We are delighted that Joanne Briana-Gartner of The Enterprise recently reviewed our Unbound exhibit currently on view at the Cultural Center of Cape Cod. 

Click here for a link to the article. 

              In Air, by Melita VanderBrooke, is included in the Unbound exhibition.

Sunday, August 16, 2020

ACN member Priscilla Smith talks about our UNBOUND exhibition

Watch Priscilla talk about a few of the submissions to our Unbound exhibition which is currently on view at the Cultural Center of Cape Cod.  

Click here for a link to Vimeo.

If you would like to be a part of ACN, we are accepting membership applications.  Contact Connie Tiegel for details.  

                            Into the Darkness by Priscilla Smith, part of the 

                            Unbound exhibition at the CCCC.

Tuesday, August 11, 2020

New Work from Barbara James

 Adding Texture and Interest With Hand Stitching

Over the past few years ACN member Barbara James has added more and more hand stitching to her work. She uses traditional stitches in non-traditional ways to add texture and color to a piece. Stitch detail draws the eye to the center of interest or helps move the eye along a path in a larger work.  Here are three examples of stitch details within larger works.

Moving the eye within a larger work.

Stitching within the center of interest.  

Stitching as the center of interest or focal point.


Wednesday, July 29, 2020

Art Cloth Network's UNBOUND exhibit is on display now at the Cultural Center of Cape Cod, 307 Old Main St., South Yarmouth, MA


  • Free


Open House on Saturday, August 1, from 2-5. Exhibit dates vary.


Jacque Davis, "Travel One, Emergence"
All are welcome to new and continuing exhibits in all five Cultural Center galleries and five artist studios and an open house on Saturday, August 1, from 2-5pm. Come experience “Unbound,” an exhibit of textiles by the Art Cloth Network, in the Constantinidis Great Hall from July 29-September 5. 
There is no admission fee. All are welcome, but guests are asked to observe CDC guidelines by wearing masks and maintaining social distancing. New gallery hours are Tuesday through Saturday from noon-5pm, until further notice.
Click here for a link to CCCC website.

Saturday, July 25, 2020

Want to learn all about Art Cloth Network and how we work together to promote art cloth?  Check out Pokey Bolton's interview with ACN President Jeanne Sisson.  If you would like to be a part of this organization, see below on how to apply. 

Link to Sisson-Bolton interview on Instagram.

Sunday, July 19, 2020

Art Cloth Network's 20th Anniversary exhibition is up at the Textile Center in Minneapolis.  You can check out a brief video for "Full Circle" by clicking here.

Friday, July 3, 2020

Call for new Members

The Art Cloth Network call for new members is coming soon!
 September 1 – October 31, 2020
Our organization defines “Art Cloth” as material transformed by adding or subtracting color, line, shape, texture or fiber to make a compelling surface and composition. This can include three-dimensional art and work meant for outdoor display.
As a thirty-member juried community of artists, we work together to encourage individual artistic development, explore the boundaries of our medium, and educate others about our art. We organize annual meetings held in a variety of locations across the country. Exhibiting our work is an important part of our mission to raise awareness of art cloth as a fine art medium. We have yearly calls-for-entry that are juried by well-known artists, often arranged by theme, and are exhibited in a variety of galleries and other venues.
Send a request to ConnieTiegel at  in order to receive detailed information and application instructions.Please include ACN in subject line.

Tuesday, June 16, 2020

Fun With Fosshape

After a brilliant set of lessons from fellow ACN members I have dipped my toe in the water.    Here's what I've made so far.   These pieces are firm and the ones that are supposed to, stand up on their own.   

 Column:  22" tall

Flute:  17" long

Spiky Column:  24" x 16" x 10"

Basket:  11" x 11" x 2"

Sunday, April 26, 2020


Anne Marie Sculpture Garden and Arts Center located in Solomons, MD has created an on-line exhibition due to the Covid-19 shutdown. This exhibition entitled "She: An Expression of Womanhood is hung in the Kay Daugherty Gallery.  The Arts Center is hopeful they will be able to open soon to offer it to the public, but for now enjoy in the comfort of your home.

The piece I have in the exhibit is entitled "Last Memories?2" and is an exploration of dementia and what last memories might look like.  In addition I was interpreting Andy Warhol's pop culture repetitive style. It was created from vintage photos with digital alchemy, printed on silk charmeuse and post production shibori.  The subjects are iconic: Mother and Grandmother with photos circa 1940's. This piece was created in response to a call for entry by ACN, "Interpretations". It was shown at the Noyes Cultural Arts Center in Evanston, Illinois and then the San Jose Museum of Quilts & Textiles.  It was also shown in an exhibit at the Arc Gallery in San Francisco, CA.
Now and then my mother continues to show up in various pieces of my fiber art. This was also true of Andy Warhol and our mom's were both Julia!

Sunday, January 5, 2020

Artwork Visualization Programs 

I have been looking at various online and phone apps for viewing completed artwork in place on a wall or in a gallery type setting.  The links below introduce and preview  a number of those apps. What is fun is to see how YOUR art can look in various settingsIt can also serve as a sales tool to show a potential client what the art would look like in a home or office setting.

I think these 3 have the most application and are easiest to use. All let you play around a bit on a free trial basis to see how it works.

iArtView is an app created expressly for artists looking to increase their sales by using high quality images of their art in personalized settings. Rather than preset wall images, you take a photo of the space where you want to see the art and the app auto-scales the work for you.

ArtPlacer‘s strength is in the app’s ability to instantly scale a work in a room with perspective, so clients get the most realistic and convincing image possible. A user can upload an art image, select an interior or upload one of their own, enter the dimensions and land an excellent looking preview with the right proportions. The art image will instantly “pop” into place with the correct perspective, which is very helpful. The app’s library of spaces includes art fair booths and galleries to living rooms and kitchens. This app also features a cool widget that you can include on your website- a helpful sales tool that will make your site stand out!

Artrooms launched in July 2018. A lite version of the app is free on both iOS and Android, with subscription options for increased functionality such as more walls to choose from, unlimited uploads, and better access for saving high-res images. The app offers artists and galleries a quick and easy tool to superimpose, light and frame art images upon elegant interior images.

So start off the new year in a new way by playing with these programs. Have fun!

Monday, September 30, 2019

A Summer Divirsion

A Summer Diversion

A friend and I are putting together a small show for our local Surface Design Association group. 
Our show concept is that we will augment each other’s work, she uses my dyed fabrics and I use her eco print fabrics. She makes beautiful eco print pieces.  So I decided that I would make leaf prints that would echo hers. However, I don’t want to get involved with steaming and mordants, etc. so I remembered a sun dye, SolarFast made by the Jacquard Company, that I played with years ago. Even though I bought it 2 or 3 years ago. it still worked and we were in the only really warm and sunny part of our year, so I experimented.  I live on the Olympic Peninsula in the Pacific Northwest where our summers are cool and damp.

This first effort was on a 70 degree day with bright sun, the leaves were laid on a gray hand dyed cotton that had been painted with yellow and red dyes, covered with plexiglas and put into the sun for an hour or two. 

This turned out pretty well, so I tried it again on a hot day, 85 degrees, with blue dye on white cotton.  My thought was that I would over dye it later, turning the white parts into color

The leaves became so hot under the plexiglass and the sun that they cooked and released those lovely brown colors. That was a surprise. The begonia leaf on the left burned in parts, so the colors are mottled. The grass leaves on top were thick enough not to burn.
Then I decided to try using brightly dyed cotton for the background.

This is a piece of cotton dyed with procion dyes using the bucket method. I painted on black dye, placed the leaves, plexiglas, put it in the sun, forgot about it and remembered three hours later.
This was the result.

I’m including this leaf to show the detail possible with this dyeing method.  That thin white line on the brown canna leaf is a piece of thread from the cotton trapped, unintentionally, between the plexiglas and the leaf. 

This is definitely worth exploring.

Monday, September 23, 2019

The Fabric of Invasion and Conquest

Recent discoveries made possible by advanced technology, like DNA studies and isotope analysis of textile fragments from Viking ship burials have brought to light the importance of cloth in the extensive conquests by the Vikings. In August, 2019 I visited two Viking ship museums in Norway and Denmark. I learned about the seafaring Vikings and was able to photograph some fascinating displays.

Centuries before Scandinavian farmers left their homeland to conquer and plunder throughout Europe, Central Asia and North America there was famine in Sweden, Denmark and Norway. It was theorized that this was caused by a series of volcanic eruptions that produced a great deal of ash in the atmosphere. This resulted in extreme cold (the little ice age) and famine. Desperate to survive, Vikings left Scandinavia by long wooden ships powered by a revolutionary discovery—the sail. It was the development of the cloth sail that made their voyages across oceans possible. Between about 700 to1100AD Viking warriors invaded and conquered lands far afield from their native land. 

Viking women wove the square woolen sails for the ships.
The fiber came from Northern European short tailed tough little sheep. They had double coats, an outer coat of long strong hairs and a soft inner coat. Weavers used the course long fibers for the warp and the softer inner coat for the weft.  It took the wool from about 700 to 1000 sheep to make a single war ship sail. 
The sails were a variation of the basic woolen cloth that was used for clothing and other domestic purposes.
Textile fragments gave evidence that natural dyes were used to color the fabric 
The woven cloth was “fulled” or felted and then coated with a resin, which helped make the sail sturdy, wind and waterproof. Thus, the sleek ship was powerful, feared and beautiful.

Thursday, July 4, 2019

Call for New Members

The Art Cloth Network call for new members is coming soon!

 September 1 – October 31, 2019

Please visit the Art Cloth Network website to learn more.

Wednesday, March 13, 2019


Last fall I took a trip to see the World of Threads Festival in Toronto, CA. It ran for about 6 weeks. This is a biannual exhibit that gathers fiber art from all around the world and is displayed throughout the Queen Elizabeth Community Center in Oakville, Ontario, CA.  The Festival is a showcase of local, national and international contemporary fiber and textile art. It is one venue where you can see a wide range of art and see much of it in depth because they will feature several pieces from one artist.  I spent most of a day there this past fall and came away with a ton of new ideas and new artists to admire.

The organizers and curators for the festival are Dawne Rudman and Gareth Bate.  There approach to the exhibition is, in their words:

we don't have predetermined curatorial ideas or impose our cone[ts on the artists. Each festival is a blank slate. Shows develop entirely out of the submissions received. To find our thematic exhibitions we look for connections between thousands of artworks from around the world. 

Along with the thematic shows that develop, there are many solo shows and installations which is a great opportunity to see a body of work.  This year there were 25 solo shows featured. Another area features the Cat Walk - one of a kind clothing - some meant to be worn, some meant for performance, some meant to be display only.  The opportunity to see this work up close and in the round is great.

One of the solo shows this year that I most enjoyed was In Between: Presence and Absence, created by Sun Young Kang.  This massive installation 9the floor of a very large open area0 was created by casting hundreds of vessels from every day life and arranging them in the display. Each vessel was sliced open so  you could see the relationship between inner and outer.

Below are a number images from the exhibit.  If you are intrigued and want to see more visit The website is extensive and includes not only the artwork form this past festival but previous years. Also includes artist interviews and lots of interesting info.  I encourage everyone to think ahead to the next call in 2020 and enter. I had a solo show of my Tree Ring series in 2014 and it was a great experience. And there is nothing wrong with having an excuse to visit the  Toronto area!