Rebecca Howdeshell Studio Art

It’s been a wonderful morning

2011-07-24T11:41:00.001-05:00

Todd Camplin, a friend and fellow graduate of the University of North Texas MFA program, wrote a wonderful blog post about my work this morning. See it here. Todd’s artwork consists of the most amazing ink on paper drawings of abstracted text. He is also doing some wonderful work in digital prints. Highly recommended.

Also, I got a wonderful mention by Mary Stone Lamb on Facebook. Mary taught for a year at UNT, my first year as an adjunct. She is happily retired now, enjoying her life, family and friends.

It’s been a long time since I’ve done a post but I have updated images in the tabs section of this blog. There is new work that I’ve completed in the last two years. I’ve also been busy completing a commission and exploring some new ideas in taking my work dimensionally. I’d love to hear from you, comments are always welcome!

Fragments 2; 6” x 6”; 2011; leather, thread, wool and industrial felt

Cross Section X; 12” x 12”; 2011; thread, industrial felt

Modern Geometry 2; 12” x 12”; 2011; thread, industrial felt

New large work 5-2010

2010-05-13T09:01:00.005-05:00

I've been working with industrial felt for four years now. I'm still in love with the material and am obsessed with working white on white. All of my stitching is done free motion – I do this so I can change the way the stitch looks for each artwork depending upon my intent. This is a second large, 72" x 18", artwork, illustrating the composing properties of the human spine.

As an artist who works with a very tactile material, I’m drawn to the physical properties of my chosen substrate. I am attracted to options such as creating form and rendering the material rigid by carving and incising a line using a sewing machine. Once this line is rendered, the mark is permanent. I see a relationship between the physicality of these marks and manipulations and the human spine. Comprised of bone, fibrous cartilage, nerves and ligaments, we are able to stand upright yet bend and contort. I ask myself if this enough of a reason to explore the manipulation of this material? I’m like the ultimate explorer – I sit down and listen to the artwork; render, discard, re-use, accept and finally move forward. To that end, I’m a specialist in regards to the handling of the material and an explorer moving toward the outcome of the relationship.

Mass II (and details); industrial felt, thread; 72" x 18"; 2010

New work 4-5-2010

2010-04-05T08:31:00.002-05:00

I've been working larger as I have a very specific vision of how this work will hang and interact. At issue has been trying to get it photographed. I would classify this artwork as relief due to the intense stitching which distorts the felt and introduces interesting shadow lines. Unfortunately that very thing causes havoc with trying to light it for a good photograph.
This particular photograph turned out pretty well. In the details you can see some of the overlapping stitching which gives it dimension and interest. In the overall, you can tell where the artwork is bending because it isn't lit as well. My solution to this problem and part of my overall vision is to increase the relief and dimension on the surface so it practically screams to be noticed.
This artwork is 72" x 18" and is thread on industrial felt.

New small work

2010-03-31T07:46:00.001-05:00

I've been making some smaller work that will hang together as a series. This is an example of work in a series called "Spine Slice." The artwork is 6" x 6" and is mounted on a cradled board.

Current Artwork

2009-08-15T14:24:00.001-05:00

Geomorphology; 24" x 24"; thread and paper on industrial felt; 2009

Density; 24" x 24" thread and paper on industrial felt; 2009

Density (detail)

Felt - simple and complex

2009-08-15T14:21:00.004-05:00

Calm I; 19.5" x 15"; thread on industrial felt; 2008

Carved and Twisted I (left); 20" x 15"; thread on unprocessed wool; 2008; Carved and Twisted II (right); 40" x 13"; thread on unprocessed wool; 2008

These images represent the journey of contrasting styles of my felt artwork. On one hand, I love the simple stitched lines and the resulting "spine" emulating a book. I also love the texture of folding, smashing, rolling then stitching of the second two pieces. On reflection, I think they both convey conceptually, one takes more time to process and the second two evoke a more immediate reaction.

Felt Artwork

2009-08-15T14:12:00.001-05:00

Spine II; 42" x 18"; thread on unprocessed wool; 2008; and detail above

Postcard from MFA Solo Exhibition with detail of Spine II

Untitled; 35" x 15"; thread on industrial felt; 2008

More felt artwork from my MFA solo exhibition

2009-08-15T14:01:00.003-05:00

Spine V; 10" x 9"; tea bag holders and thread on unprocessed wool; 2007

Calm V; 42" x 20"; thread on industrial felt; 2008

Calm III; 18" x 13"; thread on industrial felt; 2008

Encounters; 52" x 12"; thread on industrial felt; 2008

Felt Artwork and a bit of history

2009-08-15T13:45:00.004-05:00

Spine III; 12" x 12", thread and tea bag holders on unprocessed wool; 2007

Spine IV; 26" x 18"; thread and tea bag holders on unprocessed wool; 2007 with detail above

Spine VIII; 38" x 18"; thread and tea bag holders on unprocessed wool; 2007

My study of the human spine began with some rudimentary drawings and by stitching on canvas and other materials. I was scratching around the idea and exploring and considering options. The image below is among the first stitched artworks I did. Technique-wise, I liked the contrast of the stitching and the material but thought it could be pumped up to have more impact. That was when I began experimenting with wool felt. Conceptually, I thought I had a germ of a great idea that would improve with more stream of consciousness writing about spines physically, emotionally and as metaphorical symbols. That has proven to be the case as my fascination and study of the human spine has evolved quite a bit since this initial artwork.

Spinal Touch; 13" x 13"; thread on linen; 2006

Drawings and first felt art work 2007

2009-08-15T12:45:00.002-05:00

Detail of Spine I; thread and tea bag holders on unprocessed wool; 26" x 18"; 2007

Preparatory Drawing; 22" x 30"; graphite on watercolor paper; 2007

Preparatory Drawing; 30" x 22"; graphite on watercolor paper; 2007

The two drawings above are examples of many I did that eventually evolved into the first felt art work pictured above.

Weavings 2007-2008

2009-08-15T12:13:00.001-05:00

Both of the above were made from a large open weaving of silk, bamboo and cotton. I laid in other fibers as you can see in the detail on the left. I still have a large part of this weaving that I would like to incorporate into my felt art work in the future. Both are clickable for larger views.

All of the images above are of one weaving; a raw silk and bamboo piece that was over 12' long! I love the way the bamboo shimmers against the raw silk. All are clickable for larger views.

Artwork Fall 2006

2009-05-17T08:54:00.004-05:00

One of the artists whose work I referenced throughout graduate school (and beyond!) is Agnes Martin. I have a great deal of admiration for her work and her outlook on life. She found her place in life, her physical place that defined her most celebrated artwork and a passion for wanting the viewer to slow down and view the work as it was meant to be seen. Her artwork compels you to stop and let it wash over you, to be still, to envelop the calm.

In my second year of graduate school, I was exploring the concept of perception. I did a lot of artwork using transparent mylar and thread. My concept was that dress size is just a perception and by altering the pattern pieces, our perception is skewed and it becomes artwork unto itself.

Artwork 2005-2006

2009-01-08T21:23:00.004-06:00

Infinity, 2006, 18" x 18" x 4", pins, wool felt, series of three round sculptures with pins

Dress form, 2006, 6' x 3', pins on cotton and insulation board, set of three

Beginning at the beginning, 2006, 18" x 18" variable, pins on artist's child dress

Dark Fog, 32" x 20", 2005, color images in cotton duck, paint, hand stitching

Artwork 2004-2005

2009-01-08T16:39:00.002-06:00

Boxed Squared 4, 40" x 28", 2004, hand dyed and painted silk and velvet, vintage kimono, commercial fabrics, fabric paint, hand embroidery, machine stitching

Boxed Squared 4 (detail)

Artwork 2004-2005

2009-01-08T16:33:00.004-06:00

Organic Study XV, 22" x 30", 2004, hand dyed and painted fabrics, sun printed fabrics, commercial fabric, vintage kimono, computer printed organza, hand embroidery, machine stitching

Artwork 2004 - 2005

2009-01-08T14:25:00.004-06:00

Ground Cover, 2005, 16" x 15", hand dyed and painted fabric, paper, window screening, hand embroidered, machine quilted

Artwork 2004 - 2005

2009-01-08T14:17:00.006-06:00

Fraught with Possibilities, 16" x 16" x 2", 2004, photo transfer, handmade paper, paint and stitching

Fraught with Possibilities (detail)