voyage @ the schmidt art center

June 4 - July 30, 2015

Schmidt Art Center
Southwestern Illinois College
2500 Carlyle Ave.
Belleview, IL  (618) 222-5ART

Schmidt Art Center

ROW, ROW, ROW, an installation of 260 paper boats.

ARTIFACTS from the Seven Seas

paper swap preparations

Marking making with rust from found metal objects has intrigued me for some time.  My introduction to "rust" dyeing came many years ago when a friend of a friend shared her rust and over dyed silk fabrics.  Those patterns and colors are still fresh in my memory.  Back then, I limited my experiments to the realm of paper (trying to keep focused) and was able to get some rust stains transferred by repeatedly dampening nails and letting them dry on top of some handmade paper sheets.  Any visible rust particles were brushed off and cockled papers were pressed flat.  The marks were not very dramatic so the experiment was filed under "been there, done that".

Recent trends in botanical printing and rust dyeing rekindled my rust interest.  Deconstructed linen or cotton garments are folded. wrapped, clamped then layered with objects from my "rusty" collection.  The fabric is spritzed with vinegar, covered and left to do it's thing.

cotton and linen resist dyed with rust

In preparation for the Yahoo Papermaking Group 2014 Swatch Swap, I have a rust/paper experiment in progress.  Sandwiched in plastic are dampened cotton waterleaf paper (white), a vintage metal door mat and dampened handmade paper (green daylily and aqua cotton waterleaf).  Tick, tock.  

My hope is that rust patterns will be transferred to the handmade paper.  If successful, the patterned papers will be torn into 2" x 3" swatches and sent for inclusion in this years samples.  If the experiment is not successful, there will still be time to make new paper (cotton with rust dyed linen thread waste inclusions).

Crossing my fingers and toes.

material pleasures preview

It is with great pleasure that I present ... drumroll ... MATERIAL PLEASURES.  This is a sneak peek. The opening reception is Friday, August 15 from 6-8 pm at Orr Street Studio, 106 Orr Street, Columbia, MO.  Hope to see you.

L to R: Bonnie Ahrens, Carol Ann Parker, Amy Schomaker, Laurie Harper,
Ruth Walker (dimensional wet felting); Janet Ghio (embroidery)

L to R: Carol Zeman, Leandra Spangler, Barbara Overby, Victoria Weaver,
 Rebecca Douglas, Amy Schomaker, Barbara Overby, Jo Stealey,
 Ann McGinity, Jennifer Wax.

L to R:  Vicki Smith, Jennifer Wax, Ann McGinity, Jo Stealey, Amy Schomaker,
Barbara Overby, Carol Zeman, Ann McGinity, Debbie Prost, Victoria Weaver

Top:  Rebecca Douglas
Bottom: Ann McGinity

L to R:  Victoria Weaver, Vicki Smith

L to R:  Carol Zeman, Ann McGinity, Debbie Prost

Leandra Spangler

L to R:  Barbara Overby, Jennifer Wax, Debbie Prost,
Carol Zeman, Victoria Weaver

class descriptions

Class Descriptions:

For more information or to register leandra@bearcreekpaperworks.com or call 573-442-3360.

THERMAL SCREEN PRINTING *NEW CLASS*
March 30; Saturday 10-4; $65 includes all materials

Transform your black and white drawings or copyright free clip art into a screen for printing on fabric or paper.  Before class, make photocopies of several linear designs you want as a screen.  Screens are 8.5" x 11", so plan margins and edging for your "frame".  Two smaller images can be made on the same screen and cut apart.  After making a screen for printing, we will print the images onto fabric and paper.  Class fee includes three 11"x8.5" thermal screens; additional screens are $6 each.    If you aren't familiar with this technique, check out YouTube videos on Thermofax Screen Printing. 

PAPERMAKING FROM PLANTS
April 20; Saturday 10-4; $65 includes all materials

Learn the process of making paper from common local plants from harvesting, preparations, cooking, beating to forming sheets. If you've never made paper from beater processed plant pulps, this is an opportunity to explore a variety of plant fibers (day lily leaves, surprise lily leaves, daffodil/jonquil leaves, and more). No previous papermaking experience is necessary. A great workshop for beginning or experienced papermakers.  

RANDOM WEAVE BASKETS
April 27; Saturday 10-4; $65 includes all materials

Using natural vines and reed, you will learn to weave a form/basket/well hanging with random structure.  The result will be a "post modern" or "deconstructed" form.  In other words, if you don't like measuring spokes or following printed directions, this style of basket making is for you!  

SIMPLE BOOKS:  SIMPLE STRUCTURES* - a week long intensive!

June 17-21, 2013; M-F; 9 am-4 pm; studio available evenings

Learn folding without measuring, invisible joining, removable covers, hard covers and closures, as you create a sampling of books using simple structures. Participants will learn: flag, photo and envelope books based on the accordion fold; use the clam/lotus fold to create star, inchworm and ornament books and stitched structures using pamphlet binding, stab binding and Coptic binding. Of special interest to creative writing and elementary/secondary education students, these inviting book structures will excite young readers and nonreaders and will also provide an interesting format for classroom presentations in all subject areas.  Two hours (graduate or undergraduate) college credit is available through Central Methodist University.  Class will be held at Bear Creek Paperworks Studio in Columbia, MO. 

 

HAND PAPERMAKING -- EXPERIMENTATION AND EXPLORATION* - a week long intensive!
June 24-28, 2013; M-F; 9 am-4 pm; studio available evenings

Emphasizing experimentation with papermaking techniques, participants will use cotton linter pulp to make many samples of handmade paper. Techniques will include: flat sheet forming, layering color blocks, layering shapes of color (stencil/shaped deckles), shaping pulps by hand, creating textures (impressing, appliqué, hand manipulation), pulp painting and wet collage. Use of watermarks, pulp inclusions, pulp coloration, paper chemistry (sizing, formation aid), pulp preparation from linters and drying methods will be discussed. Students will construct a mould and deckle.  Two hours (graduate or undergraduate) college credit is available through Central Methodist University.  Class will be held at Bear Creek Paperworks Studio in Columbia, MO. 

 

PAPERMAKING FROM PLANTS - a week long intensive! *NEW CLASS* (I generally teach this as a one day class -- imagine five days of plants, pulps and paper!)
@ Eureka Springs School of the Arts, Eureka Springs, AR  
July 8-12, 2012; M-F; 9 am-4 pm

Learn the process of making paper from common local plants. You will love turning the sword shaped leaves from your garden waste into handmade paper. Iris, day lily, daffodil, surprise lily, yucca, cat tail (to name a few) all make a unique and interesting paper.  Some are translucent others dense with texture. Naturally colors range from creamy tan to russet brown, but can be pigmented to create a rainbow.  You will identify paper potential plants; gather/harvest; cut/cook/process into pulp by hand beating with a mallet, blender beating and in the Hollander beater.  No previous papermaking experience is necessary.

 

SKIN & BONES -- SCULPTURAL FORMS OF REED AND PAPER - a week long intensive! *NEW CLASS* (I have taught this as a three day class at a conference.  Now, available for the first time as a five day experience!)
@ Eureka Springs School of the Arts, Eureka Springs, AR   
July 15-19, 2013; M-F; 9-4 pm  

Create the bones of a sculptural form using the traditional basket making technique of twining, but with a twist.  These pliable armatures will be twisted, curled or expanded into sculptural forms pleasing to the maker.  Held rigid during drying and sheathing, the skeletal structure of reed will be covered with skin of decorative/handmade papers.  Selection of papers and pattern of appliqué will individualize each participant's form creating a unique personal expression.  No two will be alike.  This technique/process can be used for creating work for the wall or pedestal.  Mechanics for hangers, creating bases, building in balance and care of completed sculptural work will be addressed. 

* 2012 Central Methodist University fees (fee increase for 2013 is possible):

Audit/CPU (no credit):  $350.00
2 hours undergraduate credit:  $350.00
2 hours graduate credit:  $430.00
plus materials fee: $35 to instructor on the first day of class

 

fantastic fibers

UNFOLDING was juried into Fantastic Fibers 2013 at the Yeiser Art Center in Paducah, KY.  I'm thrilled. 

The Yeiser Art Center received more than 700 entries from around the world for the 2013 Fantastic Fibers competition and exhibition.  Of those 700, juror Rusty Freeman, Director of Visual Arts at Cedarhurst Center for the Arts in Mt. Vernon, Ill., selected 54 works for this year’s exhibition. Artists were accepted from Canada, Egypt, France, Israel, South Korea, Taiwan, The Netherlands, the United Kingdom and 20 states from the United States.

When I first became interested in entering juried exhibitions, over twenty years ago, Fantastic Fibers at the Yeiser Art Center was one of the few fiber specific exhibitions.  I entered a number of times and was rejected.  

Last year, SERENI_T was accepted for exhibition in Fantastic Fibers 2012.

This sculptural form brings to mind the moment of release, unfurling or bursting open.  The twined reed and wire armature is covered with highly textured paper and many layers of paint.

Fantastic Fibers 2013

April 6 - May 4, 2013

Yeiser Art Center

Paducah, KY 

shipped to the foundry art centre

Today I shipped two pieces to the Foundry Art Centre in St. Charles, MO.  PIQUANT and BLUESTAR 0110 were juried into "PaperWork In, On, and Of Paper VI."  I'm thrilled and honored to be part of this exhibition.

PaperWork In, On, and Of Paper VI is a juried art exhibition featuring two-dimensional and three-dimensional artworks that use paper as the main component of expression. The exhibition runs Friday, February 8 – Friday, March 22, 2013 and is free to the public and open for viewing during regular FAC hours. St. Louis paper artist Betty Shew has selected an excellent collection of paper pieces for PaperWork VI and the exhibition’s award winners will be announced at the opening reception. The opening reception is Friday, February 8, 2013 from 6-8pm. The public can enjoy free food & drink along with artful conversation and observation. The artist studios on the second level of the Foundry will also be open to the public for visiting. Admission, as always, is free. For more information, please call 636-255-0270 or visit foundryartcentre.org.

PIQUANT

BLUESTAR 0110

inventory delivered

The St. Louis Artists Guild is redesigning and refreshing their Gift Shop.  I delivered these items earilier this week for your shopping pleasure.  When you are in the area, stop by 2 Oak Knoll Park (off of Big Bend) and check out the revisioned Gift Shop.   

www.stloiusartistsguild.org  314-727-6266

144 page blank journal with hand dyed wool cover

144 page blank journal with colorful fabric collage covers

earrings featuring fabric beads

earrings featuring paper beads

earrings featuring handmade paper beads

earrings & bracelet sets featuring paper beads

handmade paper heart blank cards with envelopes

storage system for samples

A papermaking student recently asked advice about organizing and storing samples of pulps/papers she has made.  Because she is a visual learner, I sent her photos of some of the ways I have organized my samples.  This may be of interest to others, so today is a "share something that has worked for me" day.

My earliest attempt at labeling and keeping samples -- masking tape labels stuck directly on the handmade paper.  I don't recommend this as masking tape isn't archival, but there hasn't been a problem with these which were done in 1994.

For several years I placed samples in plastic sleeeves with a typed tag:  fiber content, processing, drying method, paper maker (I sometimes "traded" paper samples with others in a workshop) and date.  The plastic sleeves aren't archival either, but I haven't had problems with them either.

A plus with using the 8.5 x 11 plastic sleeves is that you can store related paper samples and raw plant fiber samples.  I began saving plant samples in 2002 when a student brought a plant to try that wasn't in my "gathering" area.

In 2001 I began participating in the Yahoo Papermaking Group Swatch Swap.  This is something I recommend for anyone interested in paper variations.  You have to "pay to play".  That is, you send in 2" x 3" samples of a kind of paper you have made (the organizer will tell you how many -- the range has been 55-80).  In addition you give the recipe (kind of fiber, processing, pressing method, drying method, etc.).  Each year the swatch book is different, but in it you receive a sample of each paper submitted and how it was made!  The samples are adhered on one edge so you can feel and look at the front and back.  The books are real treasures.  The 2012 book should be arriving soon.

In 2001 I also got my beater and decided to keep a record of the pulps I made in it.  Again, plastic sleeves in a notebook with fiber, beating times, etc.   My PAPERS FROM BEAR CREEK sample book was inspired by the first swatch swap book I received.

My intentions were good, but my reality is a bit different.  I do save samples of my pulps, but the recipe is "iffy" unless it is a new fiber.  My organized system has devolved, but the important information is there.  (I have narrowed what I think is important.)  That being said, I keep very good notes for samples I make for the swatch swap.

These plastic sleeves are for baseball/sport collector cards.  Artist Trading Cards are the same size as "baseball" cards.  These ATCs were made and traded at a Missouri Fiber Artists retreat a few years ago.  2.5" x 3.5" would be a nice size for samples.

Do you remember 35mm slides?  I have notebooks filled with plastic sleeves (with 2" x 2" pockets) containing hundreds of slides.  Hummmm.  I don't need the slides anymore.  I could repurpose the plastic sleeves for ???????  I'm thinking.  

timless fiber @ third degree glass in st. louis

TRUSSWORTHY (left) and RUBESCENT (right) have been juried into Timeless Fiber 2012 @  Third Degree Glass Gallery in St. Louis.  The Weavers Guild of St. Louis and Third Degree Glass are collaborating for the second year to present a juried exhibition of contemporary fiber art.

From my artist statement:

TRUSSWORTHY is a columnar form of twined reed covered with highly textured cotton handmade paper.  Connecting with the past, the surface is embellished with “women’s” stuff, which I found in my grandmother’s sewing machine drawers.  Many of these things are now, thankfully, considered “vintage”.

RUBESCENT is a columnar form of twined reed covered with highly textured cotton handmade paper.   The surface is “expanded” by cutting through the woven reed wall “exposing” an interior of glass beads.  While stitching the beads, I was reminded of pomegranates and corn, both symbols of prosperity and fruitfulness.

succulent from timeless fiber 2011

I was reviewing/revising my artist statement for the upcoming TIMELESS FIBER 2012 exhibition and ran across my statement from last year.  Since I didn't post about it then, here it is.  

SUCCULENT

       

         I am intrigued by the way light falls on a surface creating highlights and shadow.  My earliest artwork using handmade paper explored textured papers and their edges; investigating the way light and shadow identifies the raised, indented and wrinkled surface.  Twenty plus years later, I am still creating complex surfaces, which reflect light, in rich variations of tone and value.

        When challenged to create work for an invitational exhibition titled, “Xtreme Baskets,” I recognized a subtle shift in my thinking -- from “sculptural basketry” to “sculptural forms with openings”.  This change in approach opened new opportunities, as the forms were no longer “required” to have an opening at the top or to stand up straight. 

        SUCCULENT is a result of this less restrained attitude.  Conceived as a spiral rather than a sphere, the armature began with wire and reed was used to add volume, instead of beginning as a woven reed form.  Heavily textured handmade paper of black denim spans the structure enclosing space.  Many layers of paint embellish the surface.  A second sculptural form of randomly woven reed nests within, acknowledging the intermutual relationships in our lives.

fifteen minutes of fame

My thanks to Caroline Feeney and Jiaxi Lu, University of Missouri journalism students, for putting together a flattering article and video for VOX magazine published October 25, 2012.

video by JIAXI LU

Leandra Spangler makes art with ordinary objects

Local papermaking artist textures her creations with Legos, zippers and buttons

PHOTOGRAPH BY JIAXI LU

Outside her studio, artist Leandra Spangler mixes plant fibers and water to create the pulp mixture that will become part of her next paper-based creation.

BY CAROLINE FEENEY

OCTOBER 25, 2012 | 12:00 A.M. CST

The silver mylar that lines potato chip bags, candy wrappers and the patterns inside security envelopes might be the perfect addition to Leandra Spangler’s latest collage.

As an artist, she finds inspiration in the stuff most people throw away. This autumn, she’s been attracted to the warm colors of the leaves that she picks up and tucks into a notebook. “I never throw anything away,” she says. “Or that’s what people tell me.”

WHAT: In the Spirit of La Vigia: Artist book exhibit
WHERE: Memorial Union, MU campus
WHEN: Nov. 5-17
COST: Free
CALL: 882-2889
ONLINE:craftstudio.missouri.edu

In her garage studio, zip bags, thumbtacks, floral tubes and blue pipettes are organized into neatly labeled boxes. Spangler will use these to create her diverse projects from sculptures to books.

Spangler experimented with different techniques during her 25 years teaching in the public school system. She taught seventh through ninth grade art at West Junior in Columbia before she became a full-time studio artist in 2000. She received bachelor’s and master’s degrees in art education from MU and dabbled in many art forms during her teaching career.

But everything changed in 1986 when she took a papermaking class with some of her fellow teachers.  Spangler submerged her hands in a vat filled with pulp. In that moment, she knew that papermaking was her artistic medium and that she had done something incredible. She made something out of nothing.

“Here I have something that didn’t exist before, and then I have a piece of paper,” Spangler says. “And there’s so much potential.”

She began Bear Creek Paperworks in 1993, and two years later she created the Unbarbie Paper Doll Book that features a curvy woman with seven outfit options in response to the unrealistic expectations of the female body.

She also specializes in using basket-weaving techniques with sculptural forms, which she covers in pieces of handmade paper textured with found objects, such as paperclips, Legos, zippers and buttons.

For about 10 years after she began papermaking, Spangler mastered columnar-shaped sculptures. Since then, she has stretched her technique to include wide and oblong shapes, often with cutouts or caved-in walls.

“You have to have the tricks under your skin before you can destroy the perfection you thought you needed,” Spangler says. “Because then you’re confident, and it doesn’t look like a mistake.”

Spangler calls one of her latest works of art “The Oddessey,” a curved structure with tendrils that wrap around the body. The name emphasizes the odd structure, and the style reflects the direction of her newest crafts. Layers of turquoise-blue cover its curves, and intricate purple beading rests in an enclave at the bottom of the circular structure. Although created from handmade paper, the shiny exterior looks like painted ceramic or stone.

In addition to her sculptures, Spangler binds her handmade paper into artistic books. Two of her creations will be on display in an exhibit at the Craft Studio. “There’s a difference between traditional books like you check out at the library and artist books,” says Mary Franco, co-curator of the exhibit. “In this particular show, there’s one that involves scroll, and several of the books have movable parts which invite viewer interaction.”

One of Spangler’s books represents her visit to Ginkakuji, the Temple of the Silver Pavilion, in Kyoto, Japan. The journal is tucked inside a box with a mini Zen garden with white pebbles, sand and a wooden rake.

Spangler admits that she doesn’t always have her projects planned out when she begins. That’s why she never stops looking for inspiration. Her intuition will guide her work, like the unfinished black vessel that rests on a shelf in her studio.

“I have no idea what color it’s going to be,” Spangler says. “But it will tell me when it’s time.”