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Shakerag Workshops in June!

Finally I can let the world know that I’m teaching at the Shakerag Workshops in Sewanee, Tennessee in 2022. TheShakerag Workshops logoy asked me about it awhile ago, but between our schedules and some electronic issues, there was a bit of a delay on the website. I’m happy to say that my class listing is now up and complete. You can find info about it HERE. I have to admit that there are some other very inviting art classes during the two week-long sessions. Take a look. And it all kicks off with a four-day knitting retreat with the folks from Modern Daily Knitting. (While I get their newsletters, I’m a crocheter; I’ve never been able to grasp the whole purl thing. A girl has to know her limits, and this girl is sticking with hooks.)

About Shakerag Workshops
Shakerag Workshops is an adult studio art workshop program. For 2022 we will begin with a Knitting Getaway retreat in Session I (June 8-11) and then move to week-long classes offered in various media in Sessions II and III (June 12-18 and June 19-25). Participants may register for one or more sessions. Classes in Sessions II and III meet from 9:00-12:00 and 1:00-4:00 daily. Participants and faculty members often work together in the studios during late afternoons and evenings, occasionally taking time away from their artistic endeavors for sitting and talking, hiking, practicing yoga, or swimming in our mountain lake.
–from the Shakerag website

Traveling to teach in Tennessee, specifically in Sewanee, is exciting for a couple of reasons. First it’s the biggest “stage” that I’ll have taught on, certainly in person. I’m honored to have been asked. Second, there’s a LOT of synchronicity going on. Other than the song  learned by watching Looney Tunes long ago that starts “Way down upon the Sewanee River far, far away…,” I really knew nothing about Sewanee or even that it’s a town! Then, a number of years ago, a good friend from college and her husband were both hired to teach at Sewanee: The University of the South. Unfortunately, Kelly and I haven’t seen each other since they moved from Boston. Then I moved from Massachusetts to Albuquerque. Not a lot of geographical overlap between the two. LOL But a few years after Tom and I arrived here, I made an online connection with a hooker from Tennessee, Cass Gannaway. Her son lives here; she even met some of the Adobe Wool Arts Guild while some of us were demonstrating at the BioPark. Cass is pretty much a guild member at this point and has taken classes with us online during Covid. We hope to see her for real soon. Did I mention that she happens to be Kel’s neighbor? Oh, and that the director of Shakerag is also friends with Kelly and her husband.

Boucherouite hooked rug from Sahkerag adIt gets better. Cass and some of her Tennessee  hookers have taken my and other In the Studio Workshop Week classes during the past year and a half. And now, thanks to all these convoluted relationships, Cass’s son-in-law, Charlie Dalton – you might know him as The Hooking Colonel on Instagram – is teaching a second time with In the Studio come February! (I actually had the pleasure of meeting Charlie last year during the holidays when he was visiting his Albuquerque in laws.) And that, my friends, is what SYNCHRONICITY is all about. This New Mexico-Sewanee connection was meant to be.

HOOK RUGS: SAVE THE PLANET, June 19-25, will provide instruction on hooking and punching. It’s perfect for beginners and those familiar with the art forms. But we won’t be focusing on wool (not that there won’t be wool), rather we’ll look at how we can use materials that are often discarded and fill up our landfills. We’ll do our own little part to slow that process. See the links above or email me at if you’re interested in joining us.


REMINDER:

In the Studio (Online)’s Workshop Week 3 (WW3) was a resounding success in October. January 30 – February 6 will find us in WW4. Classes are filling rapidly. See the workshops and other information by following the link above. I’ll be offering last winter’s popular Baby Boucherouite class. Follow In the Studio’s Instagram as each of the nine teachers take over for a day during the next few weeks. Our Facebook page also provides plenty of fiberific findings.

 

Dog on hooked rug in front of holiday decorations
Tynan brings you what might be the last WHAT’S ON THE FRAME of 2021. Bowyn wanted to be there but couldn’t control his wild and crazy nature. The ANGEL OF 2022 should be finished next week. Tynan wishes that your holidays are filled with too many treats to count. Oh, wait! That’s what he wishes for himself.

Lastly, I hope that everyone’s taking the time to enjoy the holidays. Certainly, we’ll all have more friends and family with us than we could last year. Tom and I will actually have folks here to see our Christmas tree for the first time in years. The kid and my brother both manage to arrive on or before Christmas Eve.

I’m hoping to slow down in the next week or so to write cards and bake. And I’m almost done with my annual angel project; the Angel of 2022 will be finished shortly. It’s time to start planning the project that will take me into the New Year. What about you? Working on anything special these last days of the 2021?

 

 

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New Mexico’s contribution to the USA50 project

So, maybe a year and a half or two ago, I offered to hook New Mexico’s contribution to the USA50 project. I finally started to hook it in April. As many worthwhile endeavors do, it took longer than expected.

USA50 Poster
USA50 poster courtesy of https://remileves.myportfolio.com/usa50.

For those not familiar with the USA50 project, it originated with another big, creative venture, the hooked cushion collection at the Barachois Historic Church in New Brunswick, Canada. The church,the old whitewashed building on New Brunswick Road 133, will be 200 years old in 2026. This small church is among the oldest Acadian buildings still standing on its original site.” In order to celebrate the anniversary…“the committee thought then that a collection of 50 hooked cushions [on the church benches] would probably be feasible and would certainly arouse the interest of the population.” (Quotes from https://remileves.myportfolio.com/bonjourwelcome.)

The Barachois Historic Church is an ancient wooden building, which first opened its doors in 1826, and is still standing after nearly 200 years. The building was disaffected in the late 1970s, and reprieved from demolition in 1980. It has since been transformed into a local Museum, art gallery and summer classical concert venue. For over 40 years a wide variety of cultural events have been presented there. In order to be more comfortable on the old wooden pews, many event goers took too bringing a cushion to cultural presentations, and leaving it on the bench. Over time, this developed into a sort of tradition. This has inspired the Historic Church Preservation Committee. The “200 hooked cushions for my 200th” public art collection became the first permanent collection of the visual arts in the historic church. We cordially invite you to be part of the “USA50” collection to seal indefinitely our countries friendship and give the two collections the international destination status it deserves.
(From the USA50 Facebook page.)

 

Poster for initial cushio project
Poster for the Barachois Church’s 200th Anniversary and hooked cushions exhibit opening.
This [initial 200 cushions] collection, like others across America, proudly celebrates the volunteer work of artists in hooking. The project lives up to their community spirit and helping others, their creativity, their energy to work towards a common goal to meet the challenge. These artists, mostly women, gave in order to realize our dream. What is even more fascinating is that for many, our dream has become theirs too. Everyone had a reason to embark. That’s what created magic. Many artists pay tribute to their ancestors, a family member, Acadian friends, a colleague hooker, history, the art of hooking or just the cause.

 

The official opening of the cushion exhibit was on August 18, 2019. Over 1000 people came to view the cushions that day. American hookers were in attendance. They suggested the USA50 project, one cushion from each state.

One cushion per state representing memorabilia, landscape, bird, flower, or other representation particular to that state. Already rug hookers from all over the United-States have shown interest…
(From the USA50 Facebook page.)

Hence my participation in the project. But, while a Hatch chile pepper or a hot air balloon would’ve been good representations for New Mexico, I preferred something more authentic. Something, perhaps, Native American as they were here long before the Spanish showed up in the 1500s.

A few years ago, during a visit to the Indian Pueblo Cultural Center here in Albuquerque, I purchased a travel mug with artwork by potter Patricia Lowden, a member of the Acoma Pueblo about 40 miles west of the city. I use the mug all the time and thought that a design like hers might best represent New Mexico. Long story short, I was able to contact Patricia through the Cultural Center. After explaining the project and how I would NOT monetarily benefit from the cushion, she generously offered not to let me use the mug design but to send me a similar design! That made my life a LOT easier.

"Rainbird" travel mug; design by Patricia lowden.
“Rainbird” travel mug; design by Patricia Lowden. They’re ceramic now. You can find it HERE.

I hooked it using different wool yarns. Ruth Simpson, friend and fellow member of the Adobe Wool Arts Guild, graciously put the whole thing together.

A little about Patricia:

I am full Acoma. My great grandmother is Lupe Chavez who lived to be 105 yo. She was a potter, piki maker. Both my grandmother’s on my mom and dad’s side were potters as well. …My mother was Anita Lowden. She was a famous potter in the Indian market and won a lot of blue ribbons for her work. She made pots, animals and pitchers. She and grandmother Jesse have pottery in the Smithsonian. My oldest sister and I do the pottery making now. We learned from our grandma Andrea as we grew up closer to this side of the family. I am a 4th generation potter. I use the coil method to build my pottery. I grind my clay after soaking it. There are several steps to making and painting the pottery. I use a yucca brush to outline n paint my pieces. I make water jars, seed pots, canteens, vases, and wedding vases. I make various sizes. When people order they usually tell me how much they want to spend or I make a variety if they want more than one piece. I use traditional paints. I have been painting and making since I was 15 yo when my grandmother asked if I would outline for her, but I played with the clay when I was younger like 8 when my grandmother asked if I would like to make something to sell as she was getting ready for a feast to sell her pottery. I helped my grandmother as she was getting older and couldn’t see very well but she could still make pottery. My grandmother always encouraged me to try new designs… I love what I do and now I have a 14 year old daughter, Destiny, who I am teaching. She has made a few pieces and has sold them on her own. I am very proud of her because she will carry on my designs and the old style of making pottery. 

New Mexico USA%) cushion. Design by Patricia lowden.
“Rainbird,” New Mexico’s contribution to the USA50 project. All wool yarn on monk’s cloth. Design by Patricia Lowden. Hooked by Laura Salamy. All put together by Ruth Simpson. Thank you ladies!

 

 

Patricia has seen the cushion and told me that she and her family really love how it turned out. I’m hoping to hook up a smaller version for her to hang in her home.

 

 

 

 

Make sure you go onto Remi’s site and the Facebook page to see pics of the various cushions created for both projects. There are still a few states that are unaccounted for. As of May, they included: Alabama, Arkansas, Iowa, Montana, Nevada, Oklahoma, Oregon, and Utah. Do you live in or are you from one of these? Perhaps you can help finish up the USA50 Collection. Contact Remi Levesque through his website or the Facebook page.

 

Note: Please respect Patricia’s traditional design. Do not copy.

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The Community Circle Project – Discuss

 

Example of one of Community Circles
EVERYONE HAS A STORY: LET THEM TELL IT. Circle by Sandy Coleman.

On Monday last I participated in a workshop* presented by Nasco Art Education featuring artist Sandy Coleman, creator of the The Community Circle Project. The Project and the class are all about connecting community in a way that allows for self expression. I’m sure you agree that these days we need both.

Sandy and I go back a number of years to when I was still living and hooking in Massachusetts. Members of a local artists’ group, we talked about collaborating on something. Later is better than never, yes?

By day, Sandy is the director of communications and the magazine editor at Wheaton College (Massachusetts). But she’s also an art teacher at the Attleboro Art Museum. Back in January, her Community Circle Project featured prominently in the Martin Luther King Jr. Memorial Committee of Greater Attleboro’s MLK Jr. holiday programming. At an interfaith service entitled “Breaking through Bias: Accepting Our Differences,” guests were invited to create circles that eventually (when our Covid-19 crisis allows) will become part of a large-scale public display illustrating community and unity.

 

Artist and creator Sandy Coleman
Artist and Community Circle Project creator Sandy Coleman.

 

In Sandy’s own words:

I believe that art reminds us of our common humanity. Art invites us to tap into our innate creativity, to experience the process of bringing forth what is imagined into reality and to see what is good within ourselves so that we also can see what is good within others. This all, ideally, not only opens us up to hoping for the best for everyone and for the world, but also moves us to act to bring about good.

I believe that imagining what you want is the first step toward making it happen. All of this is at the heart of the founding of The Community Circle Project, which I created and launched in 2019.

The circle is a symbol of unity, wholeness, connection and inclusion. The Community Circle Project is an ongoing art collaboration and engagement that employs the symbol and the themes evoked as a creative focal point. I facilitate virtual and in-person workshops in which participants are invited to engage in artmaking as well as meaningful conversation. The goal is for us to see our commonalities, our shared humanity and desire for good in our lives, which, ideally, leads to wishing for good in the lives of others, our communities and the world.

Change happens in big and small ways. Each of us can play a role in that, including calling upon the power of creativity for relaxation, reflection and reaching out.

 

WE ARE POWERFUL TOGETHER. Another one of Sandy's circles.
WE ARE POWERFUL TOGETHER. Another one of Sandy’s circles.

During the class, Sandy mentioned that she creates a circle each day, usually in the morning, based on a prompt which can be a statement or perhaps a question à la “what have you learned during the world lockdown? During the recent protests? What dreams do you hold for yourself? Your family? The world?” This journaling both relaxes and energizes her, grounding her for the day ahead.

 

Monday’s online workshop was primarily directed towards art educators for grades 4 and up. Hey, I teach rug hooking! Actually, I was there because, after Sandy invited my to join the Community Circle Project on Facebook, I saw a post that she was going to be presenting HOW the circles worked, how I could learn to draw them and participate in the project. Remember, Sandy came up with this Community Circle concept last year, well before the nation sat up and really took notice of our systemic racism, before some of us truly woke up and realized that our silence has been complicit. Although, as Sandy generously allowed, “Silence is complicated, not just complicit.” She herself has taken care and time to reflect on how she can add to the conversation. She is doing that through art.

 

Circle buy Sandy Coleman
KEEP THE DOOR OPEN. Another one of Sandy’s circles.

But this is art that’s meant to be shared. Art that can and should spark meaningful discussion. And we sure as hell have a discussion now. One we need to ensure keeps going thoughtfully. The Community Circle Project is a way to do just that. Through classrooms of kids, through community workshops, even through individual “circling.”

How many times do we have to be reminded that we have more in common than we don’t? That we are our brothers’ and sisters’ keepers?

Art gives us a way to reflect on and process the things going on in the world at large and in our own little part of it. How many people miss out on that because they say, “I’m not an artist!”? Everyone can trace a circle or even freehand it. (Another Sandy-ism: “Wonky is wonderful!”) I wish I’d been at the MLK Day service in Attleboro in January to see all the diverse circles that probably we’re actually pretty similar in spirit. Imagine the discussions that came up between parents and kids, between neighbors.

 

My circle
I CAN DO MORE TO BE UNIVERSAL. WHAT MATTERS MOST IS KINDNESS. Surprise! This is the circle I did during the workshop. Clearly, I don’t have the brevity thing down yet.

 

Let’s keep the conversation going!

Rug hookers and other artists, how about an old-fashioned challenge? Your circles don’t have to be hooked. We all know what it’s like to do letters. Feel free to draw them, if you prefer. Get your kids and grandkids involved.

For more details regarding the Project, contact Sandy at sandycoleman@communitycircleproject.com, through the contact form on the website, or via the Project’s Instagram and Facebook pages. Ask her about the project, how you can participate.

And please join The Community Circle Project on Facebook and Instagram. Share the circles; be part of the conversation.

 

*As mentioned, the workshop was produced by Nasco Art Education which provides regular “Monday Maker” presentations these days. Check them out!

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WILL RUG HOOKING SURVIVE?

The other day  I read an email sent to reps on the Education Committee of the Albuquerque Fiber Arts Council regarding the potential of online education and the purposes of today’s guilds. This is something my own guild regularly discusses.

I ask because the answers might drive our educational goals in different directions.  And perhaps show us a source of inspiration to promote the continuation of the arts we all love. 
-Kathy Jackson

Earlier in the week and given current events, Beth Miller of Parris House Wool Works started a discussion on her business Facebook page. I urge you to go to her page and read the comments.

Why do we see so few BIPOC and LGBTQ people in rug hooking? Other textile arts are starting to increase in diversity, but I don’t think we are seeing that in rug hooking. Why is that?
For that matter, why are we seeing so few people under 40, or even under 50, hooking rugs? Or men?
What would it take to attract more people to rug hooking?
This is not rhetorical or academic. This is existential.
If rug hooking does not become inclusive, starting with young people, people of color, LGBTQ people, no one will be talking about rug hooking at all in a short fifty years.
-Beth Miller

I just turned 56 and am the youngest person, I believe, in my guild. This is not an anomaly among ATHA guilds. We’re aging. All you had to do was look around at last year’s Biennial in Denver to see that.

On the subject of ATHA guilds, I was amazed to read in Beth’s comments that some guilds aren’t even accepting members any more. WTF?

I also have it on pretty good authority that the circulation of Rug Hooking Magazine has been declining for the last number of years.

So what are we to do if we want to ensure that this tradition sticks around for another 200 years?

Personally, I’m really impressed by the buzz that is punch needle rug hooking these last few years.Those mostly young mostly ladies are all over Instagram, the current social media of choice, especially for artists. They’ve got online and in-shop classes going. They’ve got rock star celebrities like Arounna Khounnoraj of BOOKHOU and Rose Pearlman. No, I don’t necessarily care for all of their designs; in fact, I find many of them simplistic, but perhaps that’s what it takes to get the “youngsters” to sign up and learn the skill. All art and artists evolve with time, and they’re just starting.

Traditional rug hookers are on Instagram too, but, frankly, it’s not the same. We sometimes lack…the panache. Our projects can seem almost…fuddy duddy, I’m sorry to say. Not that there’s anything wrong with primitive rugs or traditional patterns, but, let’s be honest, is a finely shaded rose – and especially all the “rules” that go with that finely shaded rose – going to draw the attention of a typical 28 or 38-year old who’s got a full time job and maybe a baby taking up her time? What we have to do is show EVERYTHING that rug hooking can be, that is has the potential to be a rose and a 3-D sculpture à la Liz Alpert Fay or Rachelle LeBlanc.

In reading the responses to Beth’s questions and thoughts above, a few things stand out.

DIVERSITY
I don’t have to tell you that this is a HUGE topic today. And I mean this very day in June, 2020, not something theoretical. And society is hopefully starting to examine how a lack of diversity and acceptance pervades almost everything making up our society. I don’t feel qualified at the moment to pontificate on how we can draw other groups into our very white, older woman rug hooking demographic. And BTW, I am not apologizing for being a white, middle-aged rug hooker. But any group can grow staid after a hundred years or so. Change is good. Fresh ideas and perspectives are to be welcomed. Again, it’s about evolution.

TIME
A number of folks mentioned how the “young” are busy with: school; jobs and career-building; families and all they entail; and so on. Yes, this is undeniable. I started hooking when my kid was around seven years old. I was working part time as an environmental manager in a manufacturing plant. I was busy too. But I also knew that I wanted to create. Something. Rug hooking was something I could do in the evening when I watched television after the kid was in bed. And I wasn’t on a schedule. If a rug took a year, it took a year. Canadian hooker Karen Miller spoke about this just yesterday on Instagram and Facebook. She’s got a couple of kids, a fiber art business, and writes books! If something appeals enough to an individual, they will make the time for it. Ask Amy Oxford; she sells a lot of punch needles to people like me who are teaching beginners. Again, how do we make rug hooking appealing enough to gain more of our own beginners?

EXPENSE
This is a big one. And it certainly appears that rug hooking is an expensive sport what with the hand-dyed wool, the linen, the cutters, the patterns, the workshops and teachers. I’m sure I missed something. Here’s the thing, though, that’s just bullshit. The Canadian and New England ladies back in the 1800s didn’t have all those things, did they?

I learned how to hook in a community education class maybe 15 years ago. I did have to pay for that and a kit. The experience cost maybe $100. But I knew virtually nothing about hooking. Nor did I know anyone to teach me.

When my class ended, the teacher didn’t offer any additional lessons or mention a guild or anything. She did suggest a quilter’s hoop for finishing the project. Beyond that I was on my own. Thank goodness for the Internet, used books from Amazon, and Rug Hooking Magazine. With those resources I learned that:

  • I could get monk’s cloth for a lot cheaper than linen. (And no one talk to me about hating monk’s cloth and how it “stretches.” I learned on it and have always loved it. Pull in the opposite direction and it’s good as new.)
  • About rug yarn and punching, which I learned on my own. (Caveat: a few years later I took a class with Amy.);
  • How to draw a pattern;
  • How to finish a rug; and
  • Any number of tips which all you ladies have generously shared over the years especially as rug hooking groups proliferated on Facebook.

For years I used the student hook that came with my initial kit. My husband repaired that quilter’s hoop a few times when I over-tightened it. Once it was apparent I was in rug hooking for the long haul, he bought me a Puritan frame for Christmas. I still use it. I didn’t get a cutter until a couple of years ago; it was a guild hand-me-down that I purchased for less than $100.

Having no real rug hooking shop anywhere near me, I initially used wool yarn I found in a local shop. It was pretty thin. Sorry, I’m not good at yarn nomenclature. It took a really long time to hook up the two mats I made with that stuff. Later I bought old wool suit jackets from the thrift store. When I realized that it often wasn’t good wool, I came up with the idea of hooking with recycled t-shirts. They were plentiful, cheap, and came in lots of colors. Silk bouses and scarves and then bedsheets followed. If you can make a strip out of it, you can hook it. And don’t forget the yarn. To this day, so called “alternative fibers” make up the bulk of my work. And I get them at Savers or as gifts from folks looking to unload stuff.

I will admit that when I finally found a guild that sprouted up near me, I had a hard time. Or shall I say they had a hard time with me and my t-shirt rugs. I didn’t feel particularly welcome, though I’m sure some of the problem was my own sense of not fitting in and even inadequacy. I don’t know what it is about Albuquerque, but when I moved and  joined the Adobe Wool Arts Guild, I knew I was home. (See last week’s post.) They might not have wanted to hook with bed sheets, but they thought my rugs were pretty cool. I felt welcome.

During non-Covid years I teach a class to beginners called “Hook a Rug, Save the Environment.” It’s pretty much always filled with ladies who have never hooked and, therefore, have no pre-concieved ideas about beautiful wool or rug hooking rules. BTW, I am not a certified McGown teacher. I have nothing against them; hey, we have four or five in our guild! There’s room for all of us. My career in environmental management was all about rules and regulations. Rug hooking is where I can let it all out, do whatever I want. It’s art and it’s personal. There are no wrong answers. I am the boss of my rug, as we say in our guild.

The punch hookers have grabbed onto that idea and run with it. They use whatever yarn they want. No one cares if it’s acrylic or wool. They keep their pieces small to fit within a hoop or whatever they use to hold the piece; no cumbersome moving of the rug on a frame. Many of them see the back of the rug as the front! (The loops are on the back.) Or, better, they switch it all up and have flat and loops on the front! Sure, I think that loops on the back is a waste of yarn, but who cares? They are the bosses of their rugs. They’re having a great time, and their rugs are new and different.

So, how do we as the “old guard” re-excite our sisterhood (and our brothers) enough so that we can share this marvelous art with the “youngsters”? It’s gonna take technology, I fear. Damn, I’m still not all that excited by Zoom. When “they” let us, we need to get out into our communities and do a lot of demonstrations. And leave the expensive equipment at home. I’m not saying we should all start using bent nails instead of hooks, but maybe have some hoops and burlap or monk’s cloth on hand to let a kid try pulling some Lion brand bulky acrylic yarn. Most get it pretty quickly.

I’ll close my rant with something that the editor of Rug Hooking Magazine wrote in the March/April/May,1993 issue:

I hope the new people we introduce to rug hooking will find in it a totally fascinating art. Let us be welcome to newcomers. Let us teach beginners patiently. …Let us encourage and inspire.

We need new people in rug hooking. …I hope we find many of them. Please welcome them with all your talented, warm and wonderful hearts…
-Mary Ellen Cooper

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I AM THE BOSS OF MY RUG

 

“You are the boss of your rug.”

Linda Towle was the founder of the Adobe Wools Arts Guild, New Mexico’s only rug hooking guild. We miss you, Linda!

This is perhaps the anthem of the Adobe Wool Arts Guild of New Mexico of which I am the current president. You will hear it whenever any one of us is working a rug and asks the others for advice. That means you and anyone within hearing distance will hear these words:

  • at guild meetings and retreats;
  • at Albuquerque’s Botanic Garden in the BioPark where we demonstrate twice a month (in non-Covid 19 months, that is);
  • whenever and wherever any of us gather together to hook; and
  • whenever any of us teach – formally or informally.

The guidance can be in regard to most anything involved in rug making.

  • What color(s) would look best ?
  • Monk’s cloth, linen, or rug warp?
  • Wool strips or alternative fibers?
  • Which frame is best?
  • How high should my loops be?
  • Should I use quillies*?
  • Did I draw this right?
  • What do you think about _______?

If you’re a rug hooker, you know that the list is endless. Although our rugs are generally solo works of art, we often seek input from others, often those more experienced than ourselves.

We are a small and close-knit group. We are also not shy about expressing ourselves or our opinions. This means that when a hooker asks how he or she should finish their rug, they will often receive 10 or 15 differing opinions. Strident opinions. Discussion will ensue. The poor hooker might be overwhelmed. (We made someone cry once; it wasn’t our finest moment.) But, in the end, it all comes down to the same thing every time: “You are the boss of your rug.”

Being the boss of your rug  – or your painting or your quilt or poem or whatever type of art you might make – means that you ultimately choose a design, colors, techniques, and so on. You make the piece with your own hands. And when you’re done with it, it is yours. Hopefully, you share it with the rest of us.

And we are proud of that person’s efforts.

Individually, I might think the rug needs improvement. Maybe blue would’ve worked better than black. Perhaps some of the loops fell out. Hell, maybe I hate the whole design. But it is NOT my rug. It is someone else’s rug, and I respect everything that he or she put into that rug. Or that short story or that piece of pottery.

We are proud that the person cared enough to make a rug. We are proud that he or she put themselves and their ego out there. That they felt safe enough to express themselves artistically in front of us. That they were able to say no to even the most vociferous of us and create their own rug.

Maybe you’re wondering why I bring this up.

Hooked rug
March 1: “Costco shopping trip pre-coronavirus. This was extreme hooking even for me. The TP roll was hooked with actual toilet paper. Not the easiest to work with but better than anticipated. Maybe if I spun it… Also wool yarn and strips.

In March, I wrote about my yearlong #RibbonRugJournal project. Basically, every day I hook an entry on a 3-inch or so length of a burlap ribbon roll. The image – more like a sketch – has to do with something from my day. It’s not a Picasso by any means. Burlap ribbon, I’ve found, sucks to hook on. Strings often break. It’s also a small space, not good for a lot of design definition, but I’ve made it over five months so I’ll keep going.

Little did I know in January what kind of year 2020 would be. Holy crap, Batman! Hence, in March the Coronacootie started showing up in my journal. And then in the last few weeks, #blacklivesmatter has dominated the news. As it should. And as we all know, that movement’s collision with politics has been cataclysmic for the country. Naturally, this has also made it into the #RibbonRugJournal.

What do I do with the journal? Every evening after I hook an entry, I take a picture and load it onto High on Hooking’s Instagram. This keeps me honest, plus some folks are following it. (Love you guys!) All of my Instagram posts are automatically loaded onto High on Hooking’s Facebook page. From there I  share it on my personal Facebook page.

Embroidered wool on burlap ribbon
#ribbonrugjournal June 2: “ELBIB Abuse.” Did he hold that book, respecting it as the sacred item it is? Or did he heft it up as Exhibit A, “proof” of his love of God and his fellow men? I mean after peaceful protesters and clergy were driven from the church with tear gas. For his photo op. The Bible and the world turned upside down.

Tuesday, June 2, I posted a simple image. It was indeed politically motivated. I am not a fan of Mr. Trump and was fairly incensed to see him silently hold a Bible aloft in front of a Church he does not attend after his minions forcibly removed from the church area peaceful protesters and the clergy of that church. You can see that I also made textual comments which you can read.

Later in the evening, I saw that folks had commented on my social media. I’m good with that. But one woman had posted:

Is this the right place for politics? I come here for a break from reality for a bit.

I was taken aback. High on Hooking is my company; it’s Facebook page is my page. While I leave overtly political posts and memes and such for my personal page, this was just an element of another hooked rug project. And I’d posted other occasional political entries before. I explained much of this to the writer. A bit of a dust-up ensued as others came to the defense of my self-expression. I thought that was the end till I turned on my phone Wednesday morning to another comment:

No politics please!

Note the exclamation point. Although I didn’t agree with the first woman, I could understand where she was coming from. But this chick was telling me to not post political content on my own f-ing page! Really! Guess she doesn’t like her rug hooking or her art making her uncomfortable. Or she can’t handle people having a difference of opinion.

My response:

______, this is my page. I don’t compartmentalize my life, especially not my art. Rug hooking allows me to process all of life, not just the easy and good things. Please read responses below.

Lady, and anyone else who didn’t like my #RibbonRugJournal Tuesday night, feel free to pass over my “political” posts or to stop following me if it bothered you that much. You have no right to tell me or to even intimate that I shouldn’t integrate my opinions into my art that I show on my social media. I am the boss of my rugs and my pages!

Beth Miller of Parris House Wool Works wrote a great blog post back in 2017, called “Shut Up and Sing” – A Guide to Why Those in the Humanities Will Not Be Silent. I encourage you to read it if you worry about our rights and needs to self-express.

Whether you paint or hook or write or sing, remember that

YOU ARE THE BOSS OF YOUR ARTWORK.

 

 

 

*I defy anyone to show me when a quillie is a good idea. Just saying.

Wonderful

 

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