When Stratoz was deciding on a color for the joy in his suncatcher design, I voted for orange. I believe it was a good choice.
Stratoz took care of me with a photo of this Gazania flower for my Orange Tuesday. Gazania are from the Aster family and originally from South Africa. They like the sun, and open when it shines bright and then close up at night, looking as if they are dead. Also known as Treasure Flower, they are indeed like little pouches that contain the coin of vibrant color.
Margaret Honda(1961-) is an experimental filmmaker and artist from Los Angeles, CA. An Answer to ‘Sculptures’ had an immediate pull on me. The 56 panes of glass at Künstlerhaus Bremen gallery became the exhibit itself. Honda used the E-Colour+ filters from Rosco, gel sheets that change the color of light for film and video production. The 323 colors are divided into 16 “reels” of 56 and rotated through 16 days. Not even the artist sees the entire work, because every day is different, and every time of day depending on the light through the windows.
It’s like Pantone color chips but for light. As a mosaic artist, part of what compels my love of the art form is watching how a piece changes depending on how the light illuminates. My work is usually on a opaque background, but transparency is still a factor, because I put the glass on a white surface in order to let in whatever light there is. Stratoz creates stained glass, and some glass that seems ordinary in a mosaic becomes transformed by light being able to shine all the way through.
Interview with Margaret Honda about her films Color Correction(2015) and Spectrum Revers Spectrum(2014) based on the timing tapes used for color correction in filmmaking. These punched paper tapes control the color valves on the printer. She describes the process of watching the film Color Correction for the first time:
I had actually written about the film before I ever saw it. And then once I saw it, my writing about it changed. I couldn’t have foreseen what happens when you’re watching these colors, and I couldn’t have imagined what happens in terms of time. Because with this film, one color is on the screen, and then it changes, and you don’t know how long the next color will be on screen before it changes again. And then there’s this odd retrospective aspect to the viewing, because when the color changes––and you know the color has changed because there was a different color before it––you’re then trying to remember what that color was before it. So you’re going back and forth between what you just saw and what you’re now seeing.
Margaret Honda website
I could not find a photo of Margaret Esherick(1919-1962), but I found many photos of the house she commissioned in 1959 to be designed by Louis Kahn, who had designed her Uncle Wharton Esherick’s Worskhop. Margaret Esherick owned a bookstore in Chestnut Hill, and she was a single woman. Appropriately, the house had built-in book shelves and one bedroom.
The kitchen was designed by Wharton Esherick, with his fine woodworking. Look at those swooping counters and shelves! Visiting Wharton Esherick’s home and studio in Paoli, PA, mesmerized me with the beauty of his craft: drawers that illuminated when opened, a carved spiral staircase, copper sink in the kitchen.
There are only scraps of Margaret Esherick’s story. She had enough money to have a house built for herself. She died of Pneumonia at age 43 before she had a chance to see the house fully completed. The story speculated is that she was a Christian Scientist and believed the physical body is not “matter” and that traditional treatments, such as antibiotics, were to be refused.
NOTE: In the process of researching Margaret Esherick’s house, I discovered that her property is along Pastorius Park in Chestnut Hill, an endeavor of George Woodward in 1915, which involved him donating land on the condition that the City of Philadelphia condemn some 30 homes, many belonging to Italian stonemasons, who worked on many of the buildings in Chestnut Hill, and also residences of African Americans. Woodward also built the Water Tower Recreation Center that has a craft show we did for a few years.
Margaret Olley caught my attention with her orange tones which occurred again and again in her still life paintings. Orange walls, orange objects, oranges. To my delight I discovered she had an orange dining room, and often painted there, as well as a yellow living room and a green kitchen.
Mandarin oranges are one of the few fruits I remember fondly from growing up in Edmonton, AB. We would buy a crate at Christmas time, and the thin leathery skins were easy to peel with just a bit of pressure from your fingers. I made a dollhouse from one of the wooden crates.
Margaret Olley(1923-2011) is another artist I discovered because I was searching for Margarets. In Australia, she is well known. I had not heard of her, and it reminds me of when I left Canada, and all the artists, writers and musicians who were invisible in the United States.
As one article title summed her up, Margaret Olley, last of the Bohemians, she lived in an old hat factory, with colorful walls, and a sculptural array of objects on every surface. Her house was her “lifelong installation,” and a source of creativity and subjects for her jewel toned still life paintings. In fact, she donated 1 million dollars to create The Margaret Olley Art Centre, where her rooms are recreated piece by piece. Margaret Olley’s life was a mixture of being an art student, designing theatrical costumes, and an unerring sense of what Sydney properties she could buy and transform(but no beige paint) and sell at a profit. She was frugal, didn’t own a car, didn’t marry or have children, and donated 130 artworks to the Art Gallery of NSW including Degas, Picasso and Cezanne.
Her story made me think of Albert Barnes, well known in the Philadelphia area for his Impressionist and Modernist art collection, arranged in a specific order in a mansion he had built to house the work, and from which he never wanted it parted. After his death, through much legal wrangling, the collection was moved to a brand new building the Ben Franklin Parkway, although still arranged in Barnes order.
Olley remained herself through and through, independent and eccentric. Still life and interiors were often dismissed by art critics, but Olley persisted in what she wanted to paint. She had no children and evades the United States narrative of “feisty grandmother.” She mentored many Australian artists, and left a legacy of philanthropy.
This is the second of a trio of Asymmetric Log Cabin Quilt Block Trivets. The first two were wedding gifts from a sister to siblings, and the last was turnabout Gifting the Gifter from one of the recipients. Shades of eggplant purple and navy blue were some of the most challenging to find. These colors tend to either look black or have too much pastel tint. Some colors are elusive. Here’s another I made with some of the same tones.
Stratoz and I invite you to come to our Nutmeg Designs Open Studio: Open Heart on May 7th and 8th, 2016. Prepare to be delighted, find mosaics and stained glass gifts, and if you bring 5 food items for donation to Manna on Main Street, the opportunity to enter a drawing for a hope stained glass design in your favored colors.
Look for the orange chairs on our polychrome porch!