I wanted to challenge myself

October 10, 2024

And, it worked.

A month-long residency in a rural area of Japan (Itoshima, Studio:Kura) has challenged, inspired and poked me into uncharted territory. I had hoped that the studio would have a sewing machine that I could use. And they do. But. It is a bit of a nuisance to use it and that blocks me from doing the work that I am most comfortable doing. At first I thought I could conquer any machine. If this one was going to be a brat I would tame it to my ways.

You know when children decide to put on a tantrum show it is best to just walk away until they calm themselves. It was me having the tantrum and I realized that this was the first step to being challenged during my time here. That’s what I did. I stepped away from the machine.

I’ve done some hand stitching with colors that are unfamiliar to my hands.

I’ve done some cut paper experiments based on the principle of Notan.

And I have a 25 ft. long roll of rice paper that I have been drawing on. The drawing is about 8 foot long today and continues to grow. The drawing takes me to another dimension and allows me to think.

A detail shot of the 8 ft long rice paper drawing done at Studio:Kura.

I’m almost halfway through the four week stay in this lovely and inspiring place. I thought I might come up with some grand revelations by now. Maybe tomorrow.

Today the scroll is 8 feet long. How long will it be in November? I am thinking about how time is condensing and life is short. I know that I will not see everything there is to see before my end. My art reflects the thoughts and images I cannot put into words.

This beach is about a block away from my studio. This is all I really need in life—a way to see the beauty of the earth itself. It takes my breath away.

I had to stop thinking

July 9, 2020

Here’s a way to stop the endless news dipping. Turn off the Instagram pages, close your ears to news anchors, take out the sketch book, scribble, then stitch. I had to stop thinking this week. I had to disappear from day in day out headlines and distractions. It started with a What If?

What if I only used straight lines and angular corners when drawing a line that never ended. Fill up the page then turn the page 90 degrees to fill it up again. What would I discover?

Here’s the drawing

Filling in the intersections yields a background foreground pattern.

On to stitching

A square of raw canvas, some wool batting and my trusty black thread started me off. I use YLI 40 wt. cotton thread. It has a deep black color and a strong presence. You can’t miss it when stitching on a light background. It’s all about commitment right?

The nice thing about this exercise is that it stopped me thinking about anything but where the thread wanted to go. I had to anticipate the turns. Here’s the base stitching.

I find that the stiffness of the raw canvas and the loft of the wool batting gives me a surface that has both body and resiliency.

Next step, fill in the blanks. This step was like finding treasure.

Choosing which blank areas would be filled in allowed some shapes to have more definition while others could fade away. Letting the pattern meander across the surface brought some active negative spaces and some interesting positive shapes.

What are you looking at?

Then I started seeing faces. It’s a very common thing with me (see this post for more on that). So I added dots for eyes.

What a powerful thing a dot is.

It looks like some of these guys are asking the same questions I have.

Here’s where it stands now. I may add more shaded areas. I may add more dots. I may cut it up and make something else out of it.

I See Faces, 25” x 28”, Paula Kovarik — *I See Faces*, 25” x 28”, Paula Kovarik

Taking a break from thinking made me feel a little more settled this week. I recommend it.

Gobble Gobble

April 25, 2018

I teach a class about line. Following the thread is what I do. Needle down, head filled with thoughts, I let the line travel. I draw like this too. Something about letting the line tell me where it needs to go lets me tap into an unconsciousness that builds my stitch vocabulary, soothes my worried soul and brings thoughts to the surface.

Gobble Gobble was done in one of my classes. You can see the practice one in white and the final in black here. It's about greed. I think.

Gobble Gobble, practice tile, Paula Kovarik. With the exception of the small independent circles that are stitched by the bird heads this drawing is one continuous line that builds the composition. — *Gobble Gobble*, practice tile, Paula Kovarik. With the exception of the small independent circles that are stitched by the bird heads this drawing is one continuous line that builds the composition.

I don't pre-draw the lines to stitch in these pieces. Instead I begin with an idea of what motifs will repeat in the work. In this case it was the bird-like heads that are gobbling up the resources. As the line travels through the piece the architecture of the composition is created with a connective tissue of swirls, leaf forms and repetitive pattern.

Gobble Gobble, Paula Kovarik, 12" x 12" 2018 — *Gobble Gobble*, Paula Kovarik, 12" x 12" 2018

This piece will be part of the Studio Art Quilt Associates (SAQA) Benefit Auction. SAQA is an international organization that promotes quilts as art and forges a community of artists who share a common passion for fiber and stitch. The auction will take place online from September 14 through October 7.

The Dark Side

March 3, 2018

I stitch all day on the front side of my quilts. The journey from idea to final is often full of surprises. I look for that in each piece like finding a needle among pins.

These blocky forms cry out for some textural details.

So when I started this piece, now called Disruptors, my focus was on the front. The images are strong geometric shapes with details that look like animals or confused beings. My challenge is to bridge the blocky forms with line work that makes sense.

I'm always looking for ways to bridge differences. I ask myself these questions:

How does one fabric, color or texture relate to the next?
Where are the direction lines in the composition?
What would texture do to make this piece stronger?
Where can I add an element of continuity without sacrificing the chaos that I am going for?

Bridging gives structure, action and depth.

I started here by outlining the blocky shapes with a bright orange thread. Then did some ricochet stitching in the white areas of the piece. By ricochet I mean that I travel across a space until I hit an imaginary barrier than pivot and do the same until I hit another. It's like a ping pong ball bouncing in an empty room. The texture often ends up being an assemblage of triangles. Those complement the triangles in my print. Each character in this stage has a unique personality. So I decided to use a different texture in each element. Easy right? The variety of the shapes and textures added to a sense of chaos and disruption and the orange thread pumped up the drama. I thought I had it.

The textural differences in each character adds depth to the piece.

And then I turned the piece over to clean up any loose threads.

Oh my. Hello stranger. where have you been these past two weeks?

Disruptors, back detail. Paula Kovarik — *Disruptors*, back detail. Paula Kovarik

This is the back side of the second image in this post. I'm loving that orange/yellow line.

There are always two sides to every stitched story. I am entranced by this one. I am even willing to sacrifice the front to continue on the back. I'm not sure what this side is telling me but I will continue to build on it before I end this journey. Perhaps the message will emerge.

Comfort zone challenge

August 30, 2017

Steamroller. Yup. Steamroller. That's what we will use to print fabric in October. The next five weeks will find me at the Five in One Social Club workshop carving a 40" x 96" woodcut that we will ink and roll over. With a steamroller. Forty by ninety-six, big enough to be used as a banner, a shroud or a toga. Or maybe a quilt. Or two.

I've always wanted to design large prints, but never had access to large presses. This will be the first time I will carve a woodcut. It's a comfort zone challenge. There's no telling how much joy or regret I will feel during this process. Start thinking big. Yup. Big. No little stitch details necessary. (Oh...OK...maybe after I get the fabric printed I could add little stitch details...watch this space).

And of course it will be fabric. My medium of choice. Cotton, stretched delicately over an inked board, coming alive with pressure. Lots of pressure, watch your fingers.