Happy Holidays from Lillstreet and other ways to shop!

This past weekend we invited friends, co-workers, students and members of the Lillstreet community to join us for the second annual department Holiday Sale. Much fun was had by all!

We had ten vendors this year! Some of them were craft fair pros:

James and Jordana of Qualaar.

Heather Bella of Spills Her Coffee

And, for the first time, we invited students to apply as well. They did great!

Caryn

Amy

(More pictures from the event in my flickr!)

A few months ago I decided not to prioritize making crafts to sell. Instead, I was going to spend my precious little extra studio time to re-vamp my portfolio. Well.. then I had even less studio time than ever so I pretty much ended up doing neither. But the Lillstreet Holiday sale is one of my favorite events of the year! I definitely wasn't going to miss out.

Is it even possible to feel prepared for craft fairs?! If so, I definitely haven't figured out how. I pretty much had to build my whole collection from the ground up in the three weeks leading up to the event. (Y'know, since I had stopped making crafts.)


I even designed some new products!

I've got birch bolsters and birch/brown wood pin cushions! They're pretty adorbz, if I do say so myself.

All in all, I'd say my booth came together quite nicely.

I'm doing one more fair this season: this SATURDAY! If you're in the Chicago area, come by and check it out!

Happy holiday crafting, everyone! 'Tis the season to buy stuff made by your friends. :0)

Renegade Season in Chicago

This past weekend was Chicago's Summer Renegade Craft Fair! As opposed to the winter fair, at which Lucy and I shared a booth, the summer fair is out-doors. And even though the weather here has been beyond gorgeous and fall like all week, Sunday was determined to be the hottest day known to humans. Despite being sweaty messes, we had a blast- and dropped a fair chunk of change. Seriously, though? Between the heat and the hordes of beer drinking customers, Lucy and I didn't really envy the merchants.

I only walked away with one purchase, but I WANTED to walk away with a lot more! Here are some highlights from from the veritable stack of business cards that came home in my pocket:

1. Handbag with amazing front pockets! By Cut Out And Collect

That's right: those front pockets are like skirt pockets- fully lined, baby!

2. Adorable Charm Necklaces by Michelle Hartney.




3. Skull Dip Bowl by No Tengo Miedo Clay.

(For the Murder Credenza, clearly.)

4. Embroidered Cards by Despina Papadeas.

(An excellent sentiment.)

5. Stitched leather wallets by Robbie Moto.


A friend once told me that she would never vote for a political candidate who hadn't personally shaken her hand. At the time, the notion seemed a little impractical. But it stuck with me and I slowly started thinking that way about things other than politics. There is a lot of stuff in the world and we, as consumers, are so often disconnected from the makers and the designers and, really, any part of the process. Being able to meet and talk to so many prolific artists/designers/craftspeople at an event like the Renegade Craft Fair allowed me to feel connected what I was buying. And I like that.

In a lot of ways I am extremely intimidated by the Indie-craft movement and it would have been very possible to be completely knocked-out by Renegade: there is JUST SO MUCH STUFF. (Not to mention that a lot of it looks really similar...) As a craftsperson trying to make it out there in the carnivorous world, how am I supposed to carve out a place for myself? Should I make objects that are just like everyone else's because the imagery will be automatically popular? Or should I gamble on going in a different direction? Finding a balance between the two has been an elusive task over the past few years.

But instead of coming home, drinking straight from the bottle of Kraken and despair... this year I decided to be energized by the crazy hoards and the boatloads of owls and squids and pennant flags. So, in the words of Voldemort from the Harry Potter Musical,

"Look out world, I'm gonna getcha."

Right after I take a 4 day nap.

Employed! A 24 Hr Project

One week after moving to Chicago, I managed to land myself an art show! Thanks to my cousin's amazing girlfriend, and my new friend, Tory, I was invited to participate in a 24 hr project with opening to follow. Each participating artist was to bring all materials necessary to make work to a warehouse space near Chinatown and all work created during the night would be hung in the Nichole Villeneuve Gallery.

What I managed to miss by not reading the fine print of the waiver was that the artists were also responsible for providing tables and chairs. Oops.. good thing I found that chair lying around or it would have been a really long night. You know.. even longer than it was already.

The space was huge and beautiful. Apparently, this particular warehouse used to be owned by Al Capone. It was handily located right on the river... good for dumping bodies? Rumor has it that the basement and freight elevators are haunted! But we saw no evidence of it during our night there.

There were all sorts of artists: painters, sculptors, installation artists, and me: fibers

One of my goals for moving to Chicago was to get back into the studio in a really serious, conceptual way. For the past few years I feel like I've really only been touching upon projects- starting things without finishing them... not really taking the time to think things/concepts all the way through. I haven't, however, lost my crazy thirst for historical details: my most recent research topic has been FDR, the New Deal and the Great Depression. In keeping with that theme, here was the proposal I submitted to the curators of this show:

FDR’s New Deal programs and the American experiences during the Great Depression seem to me to be particularly enlightening in the context of the contemporary “Great Recession” and the global financial crisis. During the 24hr project, “Employed,” I plan on exploring the relationships between the Great Depression and the Great Recession through fibers techniques such as scrap quilting and embroidery: both techniques popularized by the necessary frugality of the hard times of the 1930’s. By utilizing text and images I hope to create a series of compositions that can act individually or as a series.

My research included everything from listening to FDR's fireside chats from the 1930's to reading Paul Krugman articles comparing the economics of the two time periods. But what I found most compelling were the hundreds of posters designed and printed by the Works Progress Administration between 1932 and 1943.

The WPA was the primary institution responsible for getting people back to work during the great depression. They did so by initiating thousands of community improvement projects across the US. Many of these were infostructure building: road construction, bridge construction, etc. But many of them were cultural. The WPA organized and provided funding for murals, musical concert, theater... anything you can think of. And their posters advertised them.

I especially loved the WPA posters that focused on the idea of the importance of work, itself.

I mean... first of all, way to glorify the working class. It just doesn't happen that often. But also, it's so true that being unemployed in a country that idolizes productivity is the difinitive road to depression. No wonder the Great Depression was so totally soul crushing, right?

Uhm, amazing poster much? Totes.

This next one was my favorite. It seemed to bring together all of my research with my personal situation of being an unemployed and unconfident artist with the title of the show, "Employed," with my research of both the past and the present.

What these posters really drove home to me was that the WPA wasn't only battling an economic depression... it was trying to assuage an emotional depression that was affecting the entire American population. Spirits had been hit so hard that fixing one was impossible without fixing the other. This was one of the main differences between the Great Depression and the Great Recession that I chose to focus my work on: it seems like now, although times are tough, the American population has kept from sliding headfirst into an emotional pit. Consumerism (apparently the best way to guage people's spirits) is still fairly up. Apple is still releasing ridiculously priced sci-fi products and people are racing to get their hands on them. NPR is still featuring stories of individuals who, after being unceremoniously fired from their boring office jobs, took the "opportunity" to change careers- to become self employed or follow dreams they had never thought were possible.

See? Optimism! And Hence: a flourishing indy crafts movement. The contemporary independent crafts movement combines the comfort seeking nostalgia of handmade objects with the anti-establishment mentality of an unpopular war and the rampant excuse for capitalism that Americans feel is their constitutional right. (Okay, clearly my feelings about the crafts movement are many and varied. And I am admittedly a part of it... but for this project it serves as a complicated muse.)

For my work for the "Employed" show I decided to combine fabrics common to the indy craft movement with images and techniques from the Great Depression.

To me, the forthcoming pieces are a sort of hilarious paradox of domestic memorials (handmade objects that hang in the home) with the mass-produced popular fabric styles and the incongruous images from the WPA posters. Were these posters ever meant to hang in the home? Probably not. But now they can be remembered for the place they hold in America's heart. (I mean, everybody knows this history, right? Ha. Hence my point.)

I chose to leave the images empty for a few reasons: first, because I forgot how god-awful long it takes to embroider anything. I had planned to make maybe six of these compositions but I barely finished three. And second, because I really liked the visual competition of the fabric patterns and the images; like the past and the present were battling to be seen.

Ok, so it's clearly not a finished body of work. But I think there's potential here. I would love to continue the project and make a whole hell of a lot of these guys. I would LOVE any feedback that people have on these, too. Please? Criticism welcome? I need to get back into critique mode.. I've been a bit coddled lately. (Mostly by myself.) Bring it on.

So, a final word on the show experience:

Now, I've done 24 hr projects before... and not with the best success or enjoyment. But the difference between the show I did when I first moved to Philly and this one was that in this case we weren't trying to create collaborative work. When you're relying on other people- people you may not even know- to create a piece that will have your name on it... tensions tend to run very high in the middle of the night. Nichole's show allowed the artists to only feel responsible for their own work... which meant that the rest of the artists involved could be respite and community. I feel like I got to know a bunch of people in the area and see into their creative processes a little bit. It was really awesome.

I thinking Chicago's gonna work out, and I'm really excited to get involved with the art scene here. Too bad i'm leaving for a month in.. like 45 min. I guess I'll try to pick up with this project when I get back in July! In the meantime, stay tuned to the blog for Snow Farm 2010! A week with my amazing nephews! And trying to drive fast enough to escape my personal demons! (Wish me luck. Also safety.)