Tuesday, May 23, 2017

(in)finite: spritiual conversations in cloth

Judy Martin's piece Trinity is featured on the invitation for this national exhibition of textiles in British Columbia.  May 25 - June 4 2017.

More photos of Trinity here

Sunday, May 07, 2017

moon cloth at perivale gallery for 2017 season

side a moon cloth judy martin
moon cloth side b jjudy martin


Moon Cloth is one of five pieces going to Perivale Galleyr for the 2017 season.
other pieces are on view here and here
The opening is May 21 - with 36th season opening  1 - 5 pm

Saturday, May 06, 2017

50th anniversary of the Manitoulin Centennial Manor

May 6
Little Current
The Manitoulin Centennial Manor plans a gala to celebrate 50 years.

A fund raising event as well as a celebration of 50 years.
Judy Martin's art work
Bachelard Series: Memories  stitched photographs and text is part of the silent auction.

detail shown above
for full piece go to Judy's New Work

Sunday, April 02, 2017

International Quilt Festival Chicago

The River Beneath
2016, Judy Martin
pieced from a life time of false starts and nine patch
silk and cotton
hand quilted with perle cotton

This quilt is included in the Traditional Mid-West and Canadian Quilts Exhibition in the International Quilt Festival Chicago.  April 6 - 8 at Donald E Stephens Conference Center, Rosemont Illinois

Friday, March 17, 2017

Craft Ontario '17

March 23 - June 3  2017
1106 Queen St West Toronto Ontario
Opening Reception Thursday March 23 6 - 9 pm

An exhibition of twenty professional Craft Ontario members from accross the province.
A complete list of all participants is here.

Pictured is Judy Martin's hand stitched entry, My Light Green Heart.

Janna Heimstra, the interim CEO of Craft Ontario, sent the photos below of Judy's piece as it looks installed in the exhibition. Thank you Janna.

Sandra Reford - Toronto artist and curator - wrote a review about this piece on her blog.  See here

Sandra curated an exhibition about Canadian quilts at the 2012 Alsace Festival of quilts.   She included two of Judy's pieces in that exhibition.  Energy Cloth and 24 hour care.

Saturday, March 11, 2017

Art Quilts International: Abstract and Geometric (continued)

Hand Stitching is a Time For Reflection
Not To Know But To Go On   2010 - 2013  hand stitch, found cloth, artist canvas
My art is about relationships:  with family, with nature, and with my inner self.  My art is the only place where I feel I can express these things and communicate about them on a deep level.  Repetition of simple small stitch marks over a large area can be powerful.
not to know but to go on   detail  Judy Martin  couching
In 2010, I was startled by how old I was going to be on my next birthday and felt the necessity to mark each day of my sixtieth year.  Every day I used up an entire skein of embroidery floss and some of the fabrics that I'd been keeping safe.
not to know but to go on, hand stitch on canvas
I kept going, stitching everyday for three complete years, ending the work on my sixty-second birthday.  Part of me wanted to keep doing it for the rest of my life, the other part of me needed to stop spending so much of my valuable time on Not To Know But To Go On.
Not To Know But To Go On  2013  223 feet by 14 inches, hand stitching, Judy Martin
Three years gave me 220 feet.  That was enough.

Art is an Adventure
Beginning With Time: Day  2015  78 by 90 inches,  hand stitch, plant dyes, re-purposed blankets
In the spring and summer of 2014, I harvested and processed local plants here on Manitoulin in order to dye yards of reclaimed blanket-weight wool fabric.  Stitching the wool, transforming it from something meaningful in its own right to something that used all of those qualities but added the emotion and self-revelation that art brings, was more challenging than I expected.
Beginning With Time:  night  2015  hand stitch, re-purposed blanket, Judy Martin  78 x 90 inches 
 How does one keep the work simple and pared down when working with such luxurious materials?

There is no eye level focal point.  Instead, it evokes a feeling of being lost in the woods.  The comfort usually associated with wool blankets is altered and gravity is created: the heavy materials and dark colours have an emotional gravity as well as a physical one.
Beginning With Time  detail of Day  hand stitch, plant dyed blanket wool
Beginning With Time is filled with dense, ordered columns of seed stitch in wool yarns.  I hope that what my work communicates is the quiet joy of making and at the same time the feeling that we are each just a tiny speck.  As it progressed, the piece took on a stubborn silent quality.    It would not be defeated.
Beginning With Time installed in St John's Newfoundland in exhibition Wild Pure Aesthetic Wonder
The dots below the horizon are perhaps the safety net I think about or represent a depth we cannot fathom.

Power of Cloth
Fragile As A Leaf in Autumn  2004  98 x 73 inches  hand stitched hand dyed quilt

 I believe that my work in textiles reaches others on a more emotional level than drawing or painting ever can.  The reason for this is the very materiality of cloth and stitch.  Cloth has a most intimate connection to the human body.  Babes are wrapped in cloth within minutes of emerging from the womb.  Cloth is fragile and wears out with age, like the human body.  The hand stitch is a slow method of making a mark and seems to hold time and make it visible.  This time spent repeatedly touching a piece expresses a thoughtful caring and tenderness.
Fragile As a Leaf in Autumn, detail  hand stitch on layered dyed  and over-dyed fabrics  Judy Martin 2004
There is power in cloth that has been stitched by hand.
cover quilt by Pat Pauley

This post is continued from the one just previous.   Martha Sielman interviewed Judy Martin and crafted this article as Judy is speaking.  It can be found on page 80 - 83 in the book published by Schiffer in 2016

This article about Judy Martin is an abridged version of the excellent article Sielman wrote about Judy that appeared in the spring 2015 issue of the SAQA magazine.  click here to compare

Tuesday, January 10, 2017

Art Quilts International: Abstract and Geometric

This book is now published and is available in all major bookstores.  You can also order the book from this link.  Judy Martin is one of the 29 featured artists that author Martha Sielman interviewed so very well.  She has the rare gift of being able to hone in on each artist's personal belief system.

As well there are 95 other quilts from artists across the globe including Australia, Canada, France, Germany, Israel, Italy, japan, latvia, the Netherlands, Northern Ireland, Russia, South Africa, Spain, Sweden, Taiwan, the UK and of course the USA.

Judy's article begins on page 80.  After a brief introduction by Martha Sielman, the text continues in the artist's voice.
Judy Martin
Manitoulin Island Ontario Canada
Known for her dense hand stitching, Judy Martin's art explores the process of making.  Working in cloth is a form of meditation, as thousands of stitches slowly cover the surface and piece together a new beginning.

Process not product

Making something slowly with one's hands is perhaps on of the most nourishing things a person can do.  Creating something from nothing - or better, creating something new from something no longer needed or wanted - is healing for the planet and for us.
Mended world   2012  94" x 94"
   repurposed linen and cotton damask, silk, cotton, hand pieced, machine pieced, hand quilted, hand embroidered.
  Made with community assistance as part of the Manitoulin Circle Project  
The Manitoulin Circle Project was a sewing circle that met every week to create four ninety-inch-square panels.  One of the four panels, Mended world, uses a variety of donated and thrift shop damask table linens string-pieced together, cut and pieced again.  Because of the multiple seams, the narrow strings often had to be mended using backstitching as they were being pieced together.  As I worked to mend an area of the central circle, the title Mended World came to me as a description of the form e ere stitching, as ell as a vision of hope for our planet.  I think that these panels give hope.  These panels are solid; they are real.  They are a tangible way to show our belief in a future.

Importance of solitude
Cross my Heart (detail)  2010  hand stitch on dyed linen layered on velvet 
Groing up in an isolated rural environment has greatly affected my life, my worldview and certainly my work.  I grew up on 160 acres in northern Ontario, miles from urban civilization.  Isolation is familiar for me and maybe its even necessary.   I grew up with my two siblings and a lot of solitude. Summers were spent under the willow trees daydreaming.
Cross My Heart  2010  33 x 35 inches  silk, linen, velvet, dye, paint, hand embroidered, hand quilted
Today I choose to live in the country and try to spend most days alone.  My work reflects this choice and often references what I live with here on Manitoulin island: large empty fields of grass, long views over ripples of water toward a calm horizon.

Please continue reading here