Artist Spotlight: Donna Cutler

Submitted by: Sydney Luther, Gallery Assistant.

Donna Cutler
Donna Cutler is a fine craft artist featured in the SCC Fine Craft Boutique. The artist, who resides just outside of Saskatoon in Beaver Creek, focuses mostly in the medium of free motion embroidery. Although she was originally self-taught, she went on to receive a certificate for Art and Design Level III at the Gail Harker Center for Creative Arts in Washington State, as well as certificates in hand embroidery and machine embroidery. Cutler says, “I arrived at fiber art through a long process of trying many other art forms. I started out drawing as a child, then as an adult, developed an interest in sewing, rug hooking... I also worked with various forms of hand needlework. Later on, I took a quilting class which was pivotal for me, as it led to art quilting.”

Cutler, who grew up in Winnipeg, specializes in what she calls ‘thread paintings,’ in which she depicts nature in near-photographic detail. She remarks, “I'm very lucky now to live south of the city within easy access to places like the Beaver Creek Conservation Area and Cranberry Flats.” Cutler takes many photographs of everyday nature settings to recreate using thread and embroidery techniques. She also utilizes photographs her husband Adrian takes, as well as ones supplied to her by good friend Judy Wood.

Autumn Birches by Donna Cutler
Cutler’s work is unique from other fibre artists’ because of her extreme attention to detail, which creates incredibly realistic looking textures. This style is not one that is easily replicated. She also dyes all her own fabrics and spends most of her summers dying fabrics at her home.
Bend in the Creek by Donna Cutler
On top of her unique fine craft work, Cutler also teaches and does commissions. To read more about this, check out her blog here. Cutler will be a Feature Artist at Anna Hergert’s Open Studio Workshop June 27th and 28th, 2014 and will be selling her work at at Art at Solar Gardens (previously Art at Agar's) in September. Cutler’s beautiful work is also for sale in the SCC Fine Craft Boutique. Please come visit and check it out!

Oceanic Experience Wellness Artist Program

Submitted by: Kimberly Murgu, SCC Festival and Curatorial Assistant

What is Oceanic Experience Wellness?
http://www.oceanicexperiencewellness.com


OEW is a sensory deprivation float tank facility that is located at 828 10th St. E. Saskatoon, SK. They opened their doors in the fall of 2012, and have been providing a space for deep creativity, healing and reflection ever since. They do this by providing you with sustained periods of weightlessness. Giving your mind, as well as your joints, muscles, and bones a rest.
Essentially, you enter a tank, and your body rests on a solution of water and 800 lbs of Epsom salts. The water is heated to 93.5*F, which is the same temperature as your skin. This causes your perception of the water begin to dissolve over a period of time. You are free from all the distractions of the outside world, as no sound, light or touch sensations can reach you.
What are the Benefits of floating?
http://www.oceanicexperiencewellness.com


When you no longer have to struggle against gravity, your body can easily enter a state of healing and rest. Many people find significant relief from chronic pain. With this greater potential to heal, your joints decompress, your spine lengthens, and blood flow is increased. Sufferers of chronic conditions such as fibromyalgia have been known to have experienced dramatic relief from just one visit in the float tank.
We weren't designed for the fast paced environment we are exposed to every day. We are all in need of quick and easy ways to calm down our nervous systems, and the float tank provides this.
When you free your body from gravity and outside stressors, you can discover deeper levels of your own creativity and intelligence. Artists have found this to be a perfect place for inspiration.
What is the Visual Artists Program?
Float-inspired art by Shinichi Moriyama

The program is open to artists of all kinds, and provides you the opportunity to exchange your creativity, time and skill for the unique experience of the float tank.
If you are serious about your work, Oceanic Wellness will provide you with two free floats in exchange for a piece of artwork inspired by your experiences in the tank.
The first float will be 90 minutes in length, and you will have 24 hours to start your artwork. Your second float must be within two weeks of your first, and you can stay in the tank for as long as you wish. You then have 30 days to have your finished piece in to Oceanic Wellness.
How to apply
 Float-inspired art by Jared Morgan

Go onto the Oceanic website. Download the contract, and send some examples of your work with your application.
If selected, you are entered into the database, and every month, 10 artists are chosen from this list.
How to prepare for a float
Float-inspired art by Tia Davis
Don’t drink coffee for several hours beforehand
Don’t shave or wax, as the salt water can irritate your skin
Eat a light meal about an hour to 90 minutes ahead of time.
If needed, bring a hair brush, and your contact lens container.
Everything else is provided.

For more information, check out the OEW website, Facebook page, give them a call or even just stop by.
828 10th St. East, Saskatoon, Sk.
1 306 361 6446
Open 24 hrs a day


The Craft Factor - The Development of Craft Sales

Volume 9, number 2, Spring 1984

The SCC's annual summertime market is coming up later this month. On June 28th, the WaterFront Craft Art Market will be held in Kiwanis Park North (Spadina Cres. & 22nd St) from 10am-7pm. As we gear up for this exciting event, let's take a look back 30 years at the first SCC market to be held in Saskatoon.


In the spring of 1984, the SCC hosted Spring Winds, and for the Spring issue of The Craft Factor 1984, interviewer Michelle Heinemann spoke with market coordinator Sandra Ledingham about the new show.

Many of the reasons for holding a market remain true today, as do many of Sandra's tips for successful booth design.











Read the full article here

Join us for WaterFront on June 28th! Check out the Facebook page or the SCC website for more info.

Frank Lloyd Wright - Taliesin West

Submitted by: Stephanie Canning, Education and Exhibitions Coordinator

While in Scottsdale, AZ in March I had the incredible opportunity to go on a tour at Taliesin West, American architect Frank Lloyd Wright’s winter home and studio. The plot for Taliesin West was purchased in 1937 with the commission Mr. Wright earned from the design of Fallingwater house in rural Pennsylvania. Upon arriving, I was struck with how well Taliesin West fit in with the landscape. The walls are constructed with desert rocks and concrete and the entire structure is situated low along the base of the foothills of the McDowell Mountains.

Frank Lloyd Wright’s Fallingwater House (http://www.fallingwater.org/)
I went on the 90 minute Insights Tour that takes you through Frank Lloyd Wright’s office, front gardens, cabaret theatre, music pavilion and into the Wrights' living quarters, including the Taliesin West Garden Room and their personal bedrooms. 
Entering into the rooms at Taliesin West is an unusual experience; Frank Lloyd Wright designed the doorways of his structures to be small and narrow, as a way to discourage people from lingering in the entryway and therefore coming into the spaces quickly. As a relatively short person, a cramped doorway is something I rarely experience. 

Throughout the tour it became apparent that Frank Lloyd Wright was an uncompromising designer. For example, the origami chair designed by Frank Lloyd Wright that I sat in the Garden Room was very aesthetically pleasing, but very uncomfortable. 

Frank Lloyd Wright’s Origami Chair (http://www.savewright.org/)
Every aspect of Taliesin West was thought out and carefully crafted; everything has a place and a reason. At first, the multiple pools and fountains on the property seem out of place in the desert setting. However, given that when Taliesin West was built it was much further away from Scottsdale’s emergency services, the pools serve as an emergency source of water in the event of a fire. Something that would have been on the forefront of Frank Lloyd Wright’s mind, as Taliesin East (his summer home and studio in Wisconsin) was set on fire at the hands of a disgruntled employee.
Taliesin West (Wikipedia) 

Frank Lloyd Wright lived at Taliesin West until his death in 1959. Today Taliesin West is home to the Frank Lloyd Wright School of Architecture and the Frank Lloyd Wright Foundation and is a National Historic Landmark. If you ever find yourself in Scottsdale, Arizona take the time to go on a tour at Taliesin West, it is well worth it.

For more information about Frank Lloyd Wright and Taliesin West visit http://www.franklloydwright.org/

Craft Market Tips and Tricks

Submitted by: Maia Stark, Gallery Assistant

As someone who has only recently begun to be a vendor at local craft markets, I scoured the internet for ideas and tips for my first market experience! I was terrified of forgetting something simple but crucial. In this post, I’d like to list some of the valuable advice I’ve discovered!

Tip #1: Emphasize the hand-made quality of your work.
The first time I bought handmade goods online I was struck and charmed by the special touches the merchant had added: a handwritten “thank you!” note, a cute sticker, colourful string around the interior package. It may be worth thinking about some kind of unique wrapping or nice packaging. When customers feel special and take their purchase home in a way that’s markedly different from a typical retail purchase, they remember that experience. Buying local and handmade products is a special moment in a mass produced retail world—help people remember why buying local is great!

Tip #2: Have works that reflect a range of prices.
Though it doesn’t work for every craftsperson, this is a tip that I’m slowly becoming convinced is very useful. Not only does this mean that everyone who attends the market can afford to buy something at your stall, but shoppers tend to look at prices and objects comparatively. When a browser sees something small and simply made for $10.00, and then looks around the table to see a large complex piece for $65.00, and the even more complex, absolutely stunning piece for $200.00, math is happening. The customer will quickly relate and compare the price to the handiwork, size, and labour which is reflected. Shoppers will (hopefully) understand that your prices are not arbitrary numbers, but each price reflects time, experience, skill, and materials. Shoppers new to craft and new to markets may quickly dismiss items as “too expensive.” By finding a way to have a range of prices which reflect the quality and breadth of your skill, you are assuring customers that you are pricing considerately and according to quality.

Tip #3: Price everything visibly.
This seems like a simple act, but this small tip will keep people looking longer. Shy customers or ones that are reluctant to get involved with the merchant right away will leave preemptively if they are faced with the choice of asking “how much is that? … and that? and this one?” Not only should everything be priced but have the price visible. Pricing with stickers on the bottom of pieces is fine, but if you have delicate or large works, customers will hesitate to pick objects up to check the price themselves. If you think that lots of price tags will make for a messy display, try having small signs set up in sections that say “20-30 dollars” or “50 and up,” so that customers know your price range and you get to keep a minimalist display.

Tip #4: Be present.
At my first craft market my feet were killing me. My partner-in-crime and I had to sit down several times. However, while I sat, I noticed that people didn't seem to talk to us as much. Perhaps the height hierarchy made people feel uncomfortable. Perhaps they think “Oh, she’s taking a break, I’ll come back.” There is something about sitting a lot which I think can prevent people from spending time at your table. Similarly, I think that if a vendor looks bored or tired, people are less likely to approach. This makes for an exhausting day, of course. Smiling and interacting all day, for hours, all while trying not to seem to pander for attention! As well, I fully support that if someone wants to be a crabcake, they should be a crabcake without judgement! Sometimes you just need to humor a bad mood and let yourself feel what you feel. Nevertheless, during a craft market a friendly and open atmosphere could easily increase your sales.

Tip #5: Offer different payment options.
Many people just don’t carry cash anymore! This can certainly be frustrating for vendors. Perhaps you or someone else you know has been in the situation when a customer is really excited by your product and then they say,  dunn dunn dunnnnn: “Do you take visa?” Your face falls. You want to say, “Are you kidding? I made my display out of old lumber, nails, and discount gold spray paint. I don’t have a debit/credit machine!” Luckily there have been developments in the last few years— new ways of accepting cards which don’t let credit card companies charge you extraordinary percentages after you spend upwards of $400.00 on a wireless machine! One such new method is “Square Up,” which is a system that only requires an account (free to sign up for), and a small card reader (also free). All that you require is a smart phone with access to the internet. Square Up takes only 2.75% of each swiped sale, and you have free access to their entire digital inventory system which can also help you track your sales. Being able to take credit cards will certainly increase your sales—customers who don’t make the trip to the ATM will be able to buy product from you!
Square Up lets multiple users access inventory and make sales, depositing sales overnight directly into your bank account. Customers can even request an emailed or texted receipt (Squareup).

For more tips and lots of display ideas, check out these other blogs and websites!


A Look at Precious Metal Clay

Submitted by: Sydney Luther, Gallery Assistant

Many of the craft mediums which are employed by SCC members are ancient art forms that have evolved as technology has changed. Some techniques have not changed for hundreds of years. However, one of the newest craft art mediums is silver clay and precious metal clay. Silver clay was developed in Japan in 1990, which makes it just 24 years old! Considering ceramic pottery dates back to almost 30,000 years ago, this is an extremely new medium.



These earrings are an example of precious metal clay, created by Tara Duckworth.
Precious metal clay jewellery looks like other silver jewellery and is just as durable, but its process is very different than traditional metalsmithing. Metal clay consists of very small particles of precious metal such as gold, silver, and bronze within a moldable binder, which can be shaped similarly to polymer or modelling clay. However, once fired in a kiln, the binder burns away and the pure metal is left behind to create a dense metal object. Firing causes the object to shrink anywhere between 8 and 35% depending on the specific product used.

Earrings by Tara Duckworth.
"Lasting Impressions" by Tara Duckworth.
The pliability of this clay makes it ideal for creating patterns, stamping images, sculpting words, casting leaves, and carving intricate designs. When the clay hardens, one is left with a beautiful solid piece of metal which can be polished just like any other piece of precious metal jewellery. The medium allows for a huge range of possibilities, some of which are different than traditional metalsmithed jewellery. 

In our SCC Fine Craft Boutique we feature the work of artist Tara Duckworth, who creates jewellery using silver clay. On top of her own work, Tara owns an art, craft and gift shop located in Regina called Solitude & Soul. She also does individualized jewellery by special order, such as her “Lasting Impressions,” which are pendants featuring the fingerprints of important family members or anyone one wishes to remember. This is just one of the many interesting uses of silver clay.


Pendants by Tara Duckworth.
To see more of the above mentioned precious metal clay pieces, as well as beautiful work in many other mediums, please come visit our SCC Fine Craft Boutique, located within the Affinity Gallery at the Saskatchewan Craft Council!

Craft in America - Messages

Submitted by: Vivian Orr, Communications and Publications Coordinator

Part two of a
 glimpse of one of the videos in the Craft in America Series. 
For those of you who do not subscribe to cable PBS channels, or if you are like me, you don't even have rabbit ears on your TV, these wonderful videos are available through the public library. 
Craft in America is a nonprofit organization dedicated to the exploration, preservation and celebration of craft and its impact on America's cultural heritage.











Messages: Explore how artists go beyond skill to personal and political expression
copyright 2011

Beth Lipman is a glass artist working in Wisconsin. Her work explores the symbolism of 17th century still life paintings through glimmering creations made of clear glass, symbolizing wealth and consumerism. 

Charles M. Carrillo is an artist, author, and archeologist known particularly for creating art using Spanish colonial techniques that reflect 18th century Spanish New Mexico. Carrillo has blended craft, conservation, and innovation throughout his career as a santero, a carver and painter of images of saints.

Joyce J. Scott is a versatile artist from Baltimore, Maryland. She is a printmaker, weaver, sculptor, performance artist, and educator, but she is probably most well known for her work in jewelry, beadwork, and glass. Her art, in whatever form, reflects her take on all aspects of American popular culture, her ancestry, and the immediate world of her neighborhood.

"It's important to imbue the work with something that will resonate and follow someone home."

"Art can be a tool that can change peoples' lives."

"I'm listening to my Mom tell me stories, and they are not just stories that talk about my family history but they are primers on how to start making artwork that matters."

Thomas Mann is an artist who works in the mediums of jewelry and sculpture. The primary design vocabulary which he employs in the making of jewelry objects combines industrial aesthetics and materials and with evocative romantic themes and imagery. He calls this design system Techno Romantic. Though it is not the only design mode in which he works, it is the one for which he and his work is best known.

"When you have a successful professional career as a craft artist there will come a moment where you making the thing becomes less important than you imagineering the thing. In order for it to benefit other people around you, you kinda have to move on to the point where you train people to make things the way you make them."

"I hardly ever use the word craft artist to describe myself. I just use the word artist. To me being an artist is about expressing yourself and manifesting objects out of your creativity that other people acknowledge as being important to them in some form or fashion and are willing to support your efforts to continue making them."