Thursday, March 21, 2013
29 x 28″
felted wool, mixed media
“Soup 2″ will be part of the upcoming Artpsan Benefit Art Auction on April 13th.
Get more details & tickets to the event here: http://www.artspan.org/events/13/04/2013/artspan-benefit-art-auction-2013
Wednesday, October 24, 2012
felted wool, mixed media
©2012 Jenne Giles, all rights reserved
John Ashbery’s My Philosophy of Life
Just when I thought there wasn't room enough for another thought in my head, I had this great idea-- call it a philosophy of life, if you will. Briefly, it involved living the way philosophers live, according to a set of principles. OK, but which ones? That was the hardest part, I admit, but I had a kind of dark foreknowledge of what it would be like. Everything, from eating watermelon or going to the bathroom or just standing on a subway platform, lost in thought for a few minutes, or worrying about rain forests, would be affected, or more precisely, inflected by my new attitude. Read the full poem HERE
Wednesday, September 26, 2012
”All I’m saying is simply this, that all life is interrelated, that somehow we’re caught in an inescapable network of mutuality tied in a single garment of destiny. Whatever affects one directly affects all indirectly. For some strange reason, I can never be what I ought to be until you are what you ought to be. You can never be what you ought to be until I am what I ought to be. This is the interrelated structure of reality.”
— Dr. Martin Luther King Jr.
Wednesday, September 26, 2012
Taste is so subjective. Here is my odd duck, a felt painting called Cubix. Turns out this is my husband & the photographers’ favorite. You just never know….
Looking for a poem on “Cubes,” I found this fun project for creating a Poetry Cube for kids:
Something to remember for the next time I visit my nieces!
Tuesday, September 25, 2012
by Jenne Giles
She and I breathe the same mountain air
There is the garden of our love beneath the Heaven’s core.
Oh! Ravenous Sun. Don’t you dare to gulp, the flowers
of our love and say that they’re not your victuals but
the victuals of time. I pray, go, Sun, go to where my
beloved is. Greet her with your smile and whisper in
her ears the rhapsodies of my love. Embrace her soul
and come soon to embrace me. I’ll feel her balmy touch
through you and see her reflection on the moon. Enough
are these sentiments for those who love – I can live by
them alone. That she and I breathe the same mountain air
and that the God we worship is one. The God of love.
Tuesday, August 7, 2012
Friday, August 3, 2012
photo: Moja Ma’at; Felt Dresses by Jenne Giles; Styling by Angelica Garde; MUA by Kenya of Ruby Envy; Hair by Diana Regua; Models: Monika & Sara
Here is the original material for FilzFun 35 by Marion Kaesmayr & myself. It was such a fun interview to respond to and Marion did a marvelous job translating, editing, and laying out the text with images from a photoshoot we did in North Beach for the printed magazine (which is beeea-utiful!). As is natural, some lovely bits were cut from the final printed article in the interest of space. Without further ado, here is the full text.
Who is Jenne?
(tell us something about your life and work and so on…)
Spiritually, I am a bit of an avant-gardist that likes to make unexpected things of beauty. I relish that genuine moment of surprise, both in myself and in others.
Where in the world are you living?
When did you decide to become a artist?
The art bug bit me early in life. Through difficult periods, it has always been a safe place where I could go for refuge & growth. I was fortunate to be accepted into a Magnet Arts High School in 1990, where studying visual art became the foundation of my learning and personal development. It was wonderful to be in a place where one was appreciated for one’s individuality and not harassed for being different. Since then, I have been dedicated to the arts throughout my adult life in one form or another,
What made you choose the materials that you work with?
What other materials would you like to work with in?
For my fine art work, I am currently exploring felt and its relationship to painting. I have a strong desire to pursue more sculptural ideas and hope that my path will send me in that direction soon.
Which technics do you prefer?
Where do you get your inspiration from?
To me, this artistic process is about sensory awakening: being open to the world through your senses by truly seeing, hearing, smelling, tasting or touching. When your mind is open and your senses are fully engaged, you can experience the world as it is: rich with variation, mystery and surprise. Felting is an excellent way to embrace the unexpected and to move through the creative process from inspiration to discovery (and back again).
Personally, I am inspired by geometry, color, form, structure, design, surprise, poetry, nature, perception, and the irresistible impulse to interact with the great big mess of it all.
What motivates you?
Do you create your work in a studio or a home base?
In 2007, I moved into a studio space. My husband and I built it ourselves, putting up walls and shelves and installing doors and sinks. I even overcame my personal phobia of plumbing- a big triumph! It is nice to have a space of my own where I can go to be creative. It has also been very important to have the dedicated space for running my business in an organized way….or at least as organized as creative spaces can be.
Crafts in the 21th Century, what does it means to you?
I believe that craft offers an antidote to much of what we are experiencing in the 21st Century. This era is identified as being the Information Age, with the internet tying us all together and allowing us access to infinite information. The plus side of this is that there is vast wisdom now available to most people; the downside is that it can be an intellectual-overload where we become lost in the sheer volume of information.
Many hours can be spent in front of a computer screen absorbing information, but it is not until we apply that information through doing that we truly learn it. In fact, one could argue that we learn so much more in the doing of things (using our hands, minds and senses in concentrated effort), than we could ever learn through reading/studying alone. After all, as humans we are the “tool-makers” who learn by working with our hands—this is how we build skills, learn, express ourselves, think creatively, and develop as individual people.
Craft is inclusive and it brings us together. Everyone can master a craft. Everyone has something to contribute to craft. So, individually, craft offers us new ways to learn, to be productive, to be involved, and to appreciate the work of others. Combined with the internet, craft allows people to interact and form communities, both locally and internationally. Therefore, being involved with a craft is an antidote to the separation and loneliness that many experience in the Information Age. So on a larger level, craft empowers people, creates community, generates economies, and generally makes this a more peaceful and respectful world.
Add to all of this that craft is historically related to the small-scale production of goods, and this makes modern-day crafting a good remedy for living in the global, big-business world where our day is filled with fast-moving, anxious advertising to buy the latest must-have item from generic, impersonal box stores. Craft is a way to make things that allows us the option to contribute in a personal way rather than to consume. It is an opportunity to slow down and enjoy, making life more satisfying.
In my opinion, the more craft we have in the world, the better the 21st Century world will be.
How do you sell and promote your work?
After that, I showed at many of the national craft shows in the US. This allowed me to practice my craft at a more professional level. Each year has offered new and changing opportunities for growth. I win some, I lose some, but the most important thing is being out there. By doing shows, I meet new people and visit new places. By having an online presence, I can meet people all over the world and can be easier to find.
My advice would be to try different things and keep challenging yourself. If the goal was just to sell a lot, there are many better business models for doing that. For me, running a small craft-based business allows me to pursue the goals of personal and artistic growth coupled with the opportunity for new experiences. These goals have a value that cannot be measured in money alone. I believe that a big secret of marketing is that you will discover your market and your message through the process of discovering yourself.
What’s your typical working day like?
First off, I get up and make a strong espresso.
Next, I drive or take the train from Oakland to my studio in San Francisco. When I am in the studio, the first thing I do is turn on my electric kettles and music. I take care of any office stuff that needs doing or any packaging and shipping that should go out. Then I can start felting.
When I am making creative pieces, I am venturing into new territories and playing with the wool and colors in new combinations. This I do to design new production pieces or to make unique items for art projects, whether it is a dress, a painting or a sculpture. When I do production, I am repeating the same steps to make a particular design over and over again. This can have a nice Zen to it, as I get lost in the rhythm of making. Both are very interesting ways of working and have their own state of being and ways of interacting with materials and tools. Perhaps each process uses different parts of the brain….all I know is that I make a mess when I try to do both on the same day.
What is your working style?
3 words of advice for an Textile Artist?
Do you have a colour you love most?
Who is your favourite artist?
Which artist do you want to meet?
What music do you listen to?
Three likes and dislikes?
warm, fuzzy, dry socks
spending time with family & friends
What do you do to relax?
Do you plan a exhibition, book-project or something like this?
In 2010, I published a book called Felt Fashion: Couture Projects from Garments to Accessories with the help of a production team from Los Angeles. When the producers first asked me to write a book, I did a lot of soul-searching about whether I had something worthwhile to contribute, especially when there are so many great felting books already available. At the time, I was learning much about pattern-making, couture sewing & garment construction and I felt there were many unexplored opportunities to combine these techniques with feltmaking. At the very least, the Felt Fashion book could bridge two disciplines: sewing for feltmakers and feltmaking for sewers. To this end, I took a wide range of feltmaking skills (basic to advanced) and sewing/patternmaking skills and blended them together to make 24 different projects, each designed to teach specific skills. I also added techniques and tools for making jewelry and hat-making so that readers could experience those traditions as well. My hope is that readers would have a comprehensive set of feltmaking and sewing skills once they had tried all the projects and that they could then combine these skills to make personalized pieces.
Often, in books or in classes, it seems to me as though one must choose a technical approach or a creative one. I tried to balance the 2, as I really appreciate technical know-how and skill-building but also enjoy a book when it inspires or encourages my creativity. Further, I wanted to appeal to both a craft-aesthetic of exuberant self-expression and to a fashion-aesthetic that can be more about subtlety, materials, details, and finishing. I hope that readers will feel it addresses both.
I believe that good learners make good teachers and I learned very much about feltmaking by writing Felt Fashion.
Tuesday, May 22, 2012
Soup 2010 (updated 2012)
felted wool, mixed media
It just needed to cook a while and that one last pinch of spice…
I like this piece: I like the floating shapes, reminiscent of a child’s building blocks which become a constellation of solidly-anchored objects in a milky field. I like the illusion of depth & dimension and how it will stimulate the eye by confusing foreground & background and bouncing from repeated color to color. Perhaps it is an aerial view of park where the eye plays a strange game hide and seek, chasing the direction of arrows and blocks.
Sunday, April 22, 2012
My felted wool & mixed media piece, Flue, is on the auction block at the Lab’s upcoming fundraising event. Support a great space & get great art!
It is bittersweet to see a piece go but I know it will go to a great home and will be an incentive to make new work. Gotta let the love flow…
Tuesday, April 17, 2012
Wedded by Jenne Giles 2011
felted wool, mixed media
Today is the first anniversary of my my marriage. My husband and I have been together for 9 years and, as many do, I did not think things would change that much after the ceremony. I have been surprised in many ways by the profound changes that did follow: more trust, better cooperation & communication, and certainly better balance. Our marriage and mutual support has given me a profound sense of security that I did not feel previously. One does become one half of a greater whole.
This painting, Wedded, was completed just prior to our ceremony. It evokes the atomic relationship between partnerships and the greater interrelationship of parts that make stabile societies. I hope that it conveys the buoyancy and humor that I feel are required to make a resilient and lasting bond.