I’m on Day 15 at Vermont Studio Center. The weather is unseasonably warm here, thanks, and no thanks, to Hurricane Sandy. Tucked away in a tiny valley, and what’s more, in a tiny town, Vermont Studio Center spans the reaches of Johnson, VT (population 2,000). I am writing this from my studio desk in a converted chapel, aptly named, Church Studios. Just inches away from the Gihon River and close enough to the hills to hear rifle shots (it’s open season), this place is rural. It’s supposed to be; that is the reason we (all forty of us) are here. 

Rural environments drive my work. I am interested in how humans relate to their environments and how they settle or make do, in said places. Expeditions, settlements, homesteads and crafts, are topics I generally take a closer look at or incorporate in my work.

During a tour of the grounds, one of the VSC directors suggested if any of us like to hike or go running (I do), that we should be advised to wear blaze orange, in any form; hat, hanky or vest. With several days until my supplies would arrive from Salt Lake (and still haven’t, no thanks, again to Sandy and the USPS), I immediately got to work using fabrics that played into my survival, or the idea of survival, in general: blaze orange and camouflage. A fitting transition, because my past work deals with craft and clothing tying humans to the landscape or being a marker of identity. Sticking out---being an individual, if you will---certainly helps you survive in many instances and in others, not so much. This space between being seen and invisible is one I’ve been investigating.

Here are some studio images:

My photographic work, as well, is largely a bank of landscape images where I have interjected my hand into the image, both literally and figuratively. I take photographs of historically important sites, but framed through my hand and usually of small, intimate views. This makes time a bit more subjective or less important for the viewer. It also obscures the method, a bit, as well. More importantly, the intimacy of its creation and how the viewer experiences the image, is the whole purpose. Another photographic series, I’ve been working on, again, are of historical sites where there is mostly empty land. No real indicator of an important event, once occurring. But, the emptiness implies that something was once there, that is no longer. Maybe there are a few bricks, an abandoned building, but without much investigation, it is just seems like vacant land. With these photos, I go back in with embroidery, to re-activate the empty space. I like embroidery because of its implied sentimentality and relationship to history, handicrafts and gender roles. It is contrary to digital photography and traversing the landscape for images, in many ways. Combining the traditionally masculine and feminine, has been an anchor for most of my work; making those opposites build something, together.

Studio images of photographic work:

I have about 10 days left of the residency, where I plan to shoot different sites in Johnson, VT and continue stitching up some fabric works. I’ve been doing quite a bit of reading and sketches, as well. Mostly, it’s been invaluable to have a pretty big studio space (4x as big as mine, back home) where I can write on the walls, stay up all night slashing out ideas and know that I’m not alone in the process; I’m book-ended with like-minded kids. One, rapturously and religiously covering large canvasses with splatters of oil paint, the other neatly sewing up well-endowed puppets, while streaming Howard Stern, well into the midnight hours. It’s a good crowd. I figure I’m the survivalist nut, camouflaged away in an imaginary bunker hidden inside my studio, sewing up warning signs and planning my next prey to “shoot”. 

Website: www.morgannewakefield.com

I’m also on Kickstarter, raising funds for my project at Vermont Studio Center. 10 more days left and already about halfway there! Stop by, check it out, pass it along to someone else. Thanks!

http://www.kickstarter.com/projects/277399150/morganne-wakefield-vermont-studio-center-residency

Jendar Marie Morales, co-founder of The Art Haus SLC, discusses in 25 seconds how TAHSLC hopes to influence the Salt Lake City community through their arts programs. How do you personally hope The Art Haus SLC will influence the Salt Lake City community? Share your thoughts with us. 

http://www.youtube.com/watch?v=DRG7eCrBcG0&feature=share

We are officially kicking off The Art Haus SLC this week by activating our website, registering as a 501(c) and getting set up on all several different social media websites.  

We want to get the word out about our plans to create a space in downtown Salt Lake City next year that will bring exciting and new contemporary arts to the community members.  

Please help us by getting the word out and checking out our events page to see what you can do to be a part of the movement.

We will also set up our kickstarter infomation shortly so you can help The Art Haus SLC bring programming and events to everyone in the downtown community.