In 2010 I headed to Johnson Vermont for my exhilarating, challenging, and terrifying artist residency at the Vermont Studio. The terror came from traveling a year after having broken two wrists, with two fifty pound suitcases, and from the scariness of being thrown together with 50 “real” artists, and from a psychic telling me it would be a terrible place for me, and from thinking I could get there and be too frozen in fear to create. But I strapped on my wrist splints, managed the 100 pounds of art supplies, and ironically ended up being the person who helped a co-resident wrangle her 75 pound chest of books into the airport shuttle van. She was coming as a writer resident, and had contracted a degenerative, debilitating disease that destroyed her muscles.
The art residency experience there was amazing. I woke up each morning wondering how I could possibly be so lucky as to have this experience that mandated one to do nothing but make art all day long. I continued to be scared silly when I had to share my art, but I faithfully kept my commitment to myself to take advantage of every risk to share and connect around art. Consequently, I met a number of amazing people, including Nari Ward who was the 3D visiting artist. (http://www.nariwardstudio.com/)
One of the interesting characters I met is the cartoonist turned abstract artist Howard Sherman. And it is via him that I got to the art of Linnea Glatt. In a recent art mailing of Howard’s, his art features on the cover of a newly released book of abstract artists who live in Texas. In my curiosity of who else was in the book, I discovered Linnea Glatt, an artist who draws by stitching on mulberry paper with a sewing machine.
What I love about this discovery is that Linnea Glatt is tucked in with the abstract painters, with no fan fare announcing unique materials or fiber artist connection. She is simply an an abstract artist who uses fiberly materials and technique and is in mainstream art culture.
She previously made large iron sculptures with her husband, such as Harrow, shown below.
She works in her studio at a long table, sewing.
and detail of French knots.
In situ shot.
I never tire of discovering new work, especially when it effectively utilizes tactile materials with textile reference, in a marvelous rendition of line and form. Thanks Howard for indirectly introducing me to Linnea.