As of September 1, I am sharing a studio at the Cotton Factory in Hamilton; a beautiful, refurbished factory with fantastic facilities, friendly faces and an amazing ambiance. I feel very fortunate to have found such a wonderful place to work with opportunities for collaboration, and space to grow. Now its time to work!
An installation for the professional theatre, Theatre NorthWest, Prince George, British Columbia
The final piece of the cast paper kitchen – the kitchen sink, counter and essentials needed to make a kitchen run: toaster, fruits and vegetables, tea pot, tea cups, bowls, implements, etc..
Susan Barton-Tait and Barbara Scholz have collaborated to produce an installation, Pattern Drafting, which includes paper dress patterns, audio stories relating to the patterns and a mechanical apparatus which creates circles of colour on paper directly relating to drawing, travelling, and life. Barbara is divesting herself of her life in Canada and returning to Europe, not Austria where she was born and grew up, but to Portugal, to lead a new life in a completely new environment. As an artist she had to adapt her art practise to the Canadian reality. She began a dressmaking business that flourished in the…
My studio is next door to a hair salon. I asked the owner/stylist if I could cast one of the stylists’ chairs with paper pulp while the salon’s stylists and customers were busy working and having their hair styled. I had such fun casting the chair and listening to the reactions of everyone around me. When the installation was unveiled in my window, even the street people came and knocked on my window and wanted to know “what are you doing in there?”
From 2008-2012, I took a hiatus from the art world and became a florist. To cleanse myself of this past life, my studio window became the site for an urban performance and installation on Mother’s Day. A transformation took place during May from a large-scale display of red roses to handmade paper sheets and vessels embedded with dried leaves and petals from the withered roses. I performed the ritual of cleaning 250 long stemmed red roses in the studio window as people walked by, looked in, stopped to watch, or continued walking. Then I set each rose into grid frames hanging in the studio until an installation appeared.