No photos were allowed inside the museum but outside in the garden, red and green cotton were in full bloom.
Last night was the opening of the Fiber Art show in conjunction with the Texas Federation of Fiber Artist Conference hosted by the Houston Fiber Artists. The juror was Tim Harding, an artist whose work I have long admired and who is most gracious and eloquent. I first saw his work hanging in a gallery in Kansas City while attending a Surface Design Association Conference and nearly fell over the stairwell trying to get a close look at his work. His work is multiply layered silks, stitched, and then cut and folded back to reveal the colors underneath. Some of the pieces have a landscape quality about them but they are all meticulously fabricated and gorgeous.
Houston’s Craft Museum has a lovely gallery space and it was crammed full of luscious examples of fiber art. There was a huge range of media ranging from felted sculptures, weavings, more traditional quilts, embroideries, and things that were fiber but difficult to categorize. There were almost too many pieces to fully appreciate each one and the place was wall to wall people. Several pieces were stunning from a distance but up close inattention to craftsmanship detracted from their impact.
Two of the most interesting pieces (besides mine, of course) were ones that I find difficult to classify. Oscar Silva used a fine buttonhole stitch to define squares in yellow and burgundy on carpet warp; glued an acorn cap in the center of each square and had little pieces of florist wire with bits of turquoise paper wrapped around each end—there were hundreds of these. The other pieces were actually two done in a similar style by Linda Lewis. Also on a background of something that looked a lot like carpet warp, there were either holes that looked like ‘O’s or actual ‘O’s applied in rows. I looked for her amongst the crowd—to quiz her about her method—the artists all had nametags with our piece printed on it—but my back told me it was time to go home.