Artist Interviews Archives - 360 Xochi Quetzal

Video Interview with Georgia Rowswell

July 20, 2021

by Bethany Putnam with No Comment Artist Interviews

Art is the language I use to translate the world around me. Unusual materials and combinations with a heavy emphasis on pattern, color and texture are my words. My goal is to present work that inspires an interesting and lively conversation. Georgia has a gallery and studio space in the heart of downtown Cheyenne Wyoming. Her work can be seen at Blue Door Arts located at 1608 Capitol Ave in the Historic Hynds building. Visit Georgia at her studio by appointment or serendipity. Text or message her at 229-546-5183 or email at georgia.rowswell@gmail.com

Interview with Charlotte Hildebrand

October 2, 2020

by Bethany Putnam Artist Interviews

Charlotte Hildebrand was our first comic book artist at the 360 Xochi Quetzal residency program. Charlotte lives and works in Los Angeles and is a genuinely funny person. She moved from New York to LA in the mid-80s to study at the American Film Institute. After school, however, instead of going to work in the industry, she produced her first child. While raising her children she worked as a writer and editor for various non-profit arts organizations, as a journalist and freelance book editor, as well as taught ESL. After the kids left home, however, she began an art practice, which continues to this day. Charlotte started her exploration of art by putting up wheat-paste posters in the dead of night around Los Angeles, which led to working as a muralist, painter, illustrator and cartoonist. She is presently working on a graphic memoir about growing up in segregated Louisville, KY. She also teaches graphic memoir and comic arts at the Center for the Arts, Eagle Rock, a community based non-profit in LA, as well as teaching a private online workshop called Kuarantine Komics.

Give us some background about yourself as a comic artist.

When writing and editing work dried up in the 2008/9 recession, I began a blog. Mainly I wanted to get some stories and essays down that I had been working on for years. Out of nowhere (that may not be true, but it felt that way) I started to illustrate the stories, reaching back to an earlier time when I drew a lot. My blog posts picked up steam with those illustrations, which propelled me into melding text and images, but I didn’t have a name for it yet. Then I went to hear Allison Bechdel talk at the LA Public Library about her first book, Fun Home. It blew me away. I can honestly say it was a revelation: how one could tell stories through images, and in the doing so, elevating the story into another dimension. The mere fact of putting images to text like you do in a film, (remember I had studied filmmaking) changed everything. Not that I knew where to begin, but as I learned later, most comic writers/artists are self-taught. For me, comics became my métier.

Why was it important for you to attend a residency at this point in your career and what made you choose 360 Xochi Quetzal for your residency?

I’d been working on a compilation of coming of age stories, when the politics of our country changed and I found myself manically shifting my attention to political cartoons. Steve Brodner, one of our country’s foremost political cartoonists was offering an online class through SVA, which I readily signed up for. During one of his sessions, he assigned a graphic memoir exercise, with comic panels, which is where everything really began to take shape. Last year I continued my study of graphic memoir in NYC with Amy Kurzweil, a cheeky cartoonist published in the New Yorker and Huffington Post. Back home I was getting stuck and started thinking about what I needed. My vision included: being surrounded by people working on projects, while I also worked, but without interference, if you know what I mean. I remembered a friend mentioning this residency on Lake Chapala and when I looked into it, the one residence that was available for the time I could be there, seemed to fit my needs perfectly. And it did. I was able to complete 4 rather difficult chapters while I was in Chapala.

What changed for you in your work, goals and ideas as a result of this residency?

I think the first thing was meeting Cobra and taking a tour of her studio. To see a woman take charge of her space, her work, her output, and to be able to work with community, was very inspiring and made me want to work harder. Also inspiring was seeing how hard the other artists in the residency were working. I felt strengthened by their commitment to their work. In Chapala, my own output was steady. I worked through a difficult historical passage about Louisville (when the fight for social justice meant you were a Communist), and some other more personal stories, which bolstered my desire to continue with the memoir. Until that point it was an iffy proposition— would I continue or not?—but after the residency I knew I would finish the book.

What were the highlights of your residency? Tell us about a typical day in the life in Chapala, Mexico.
I love Mexico, I’ve been to Mexico City and Oaxaca a handful of times and I always thought I’d go back there, but Lake Chapala called to me. On the website people called the residency magical and the town definitely had a special quality. Being on the lake was amazing, the musicians at night along the boardwalk, walking everywhere, a busy blue collar town as opposed to a tourist destination (although it’s that too). A typical day would be get up and do some yoga, make tea, sit down and work for about 4-5 hours on whatever chapter I was working on, and then around 5, walk to the little park, towards the lagoon, where the birds gathered. I was endlessly drawn to the the various types of birds. There were herons of all kinds: green, great blue, little blues, and night herons. Pelicans; egrets; black birds and swifts would also come out to this area before sunset and nest in the trees and the tall grasses. It was fascinating to watch and hear, and a peaceful way to end the day. (although sometimes I went back to my casita and worked for another couple hours).

Tell us about your creative process. You are working on a graphic memoir. Please tell us more about this form and how do you develop your ideas?

Well, the first thing I can tell you about my creative process is it’s not a straight line. I can spend weeks ruminating about something, and not know how to approach it, and it slips away. Or sometimes I spend weeks working on an idea and it ends up not working and I have to give it up. The stuff that works and is most meaningful, usually comes to me like a feeling that I can only describe as “whole.” I can put it down on paper and draw it out from beginning to end. It has a logic to it, with a complete arc. I used to be most inspired by taking long walks where an idea would pop into my head while walking. That still happens, but now, working on the memoir is more about sitting down at my desk and taking a deep dive into the past. I just completed a chapter about having to end a forbidden love affair when I was 16, because my father forbade it. But what I had forgotten, after I thought I’d finished the chapter, was how at one point in that relationship, I was sitting at my mother’s vanity, looking into the mirror, and asking myself existential questions, such as, was this what people called love? Was it love, or did I just have a stomach ache? All those memories came rushing back once I sat down and started writing/illustrating that chapter of forbidden love.

Resources:

http://charlottehildebrand.blogspot.com

http://ratsnestcomics.blogspot.com/

Instagram @ lottobrand

Stevebrodner.com

https://believermag.com/type/comics/

NY Times Diary Project (started during the pandemic):

https://www.nytimes.com/spotlight/the-diary-project

You are teaching a Kuarantine Komics class (great title!) and also a class on 4-panel comics. We would love to hear more about these unique offerings including your teaching philosophy and approach.

I really love teaching and seeing student work is one of the most satisfying feelings a teaching artist can have. Peoples’ stories are endlessly fascinating and I love seeing that students can execute their versions of your idea in ways one never would have imagined. But I don’t teach technique, in fact I encourage people to draw like they did as children, the more raw the better. I also discourage using an eraser. When the pandemic first began, I set up a workshop on Zoom called Kuarantine Komics to give people a place to express their fears and apprehensions. I encouraged people to draw what they were feeling without restrictions and not worry about limitations they had as artists. One young woman took off, a budding comic artist just waiting for the right moment to explode! My adult children were part of the class too and it was gratifying to see what great artists they both were.

My classes through the Center of the Arts Eagle Rock, a community based non-profit started out last year, and then moved to Zoom in March. These classes are more challenging, especially since our country has been in such upheaval. I warm up the class by giving different drawing prompts. For self portraits, say, I suggest drawing 3 sides of yourself— your private, public and aspiring selves. And then we jump into the main theme of the evening. I’ll give prompts on a specific topic to get them going. Comics allow a place to say what’s on your mind, and the more raw the drawings, the more meaningful they are for the artist and viewers. The only down side is it’s harder for this teacher on Zoom. I want to stand over my students’ shoulders and point out the minutia that can make the difference between a good comic and a great one. But on Zoom I’ve had to let the teaching flow in a new way. And the comics from those classes have really been great.

Interview with Elizabeth Irwin

July 16, 2020

by Bethany Putnam Artist Interviews

Elizabeth Irwin is a playwright, screenwriter, and teacher based in New York City. She has come to 360 Xochi Quetzal each summer for the last three years to work on a specific project. Last year she came with her sidekick Sinatra. There are a lot of nuggets here for aspiring writers. Enjoy the interview.

You have been to Chapala three times as part of the 360 Xochi Quetzal personal residency program. What keeps you coming back?

I find Chapala to be a wonderful, typical Mexican town. It’s not overrun by tourists. It’s lively but quiet. The food is wonderful and inexpensive. The people are friendly and it’s just really nice to be able to shop at the weekly open air markets, walk by the lake, enjoy traditional food and practice my Spanish while still having hours every day to devote to my writing. I also find Cobra and her husband to be excellent hosts and have very much enjoyed getting to know them.

What benefits have you derived from the residencies?

Having time and space away from my typical obligations in New York is vital. Having the luxury of simply being. Creating the rhythm of my own days. Taking advantage of what Chapala has to offer on some days and staying quiet on others, taking it all in from the rooftop as I look at the mountains and the sky.

How has each residency been different for you?

As I get to know the town better, I find my own little secret delights and then return to the ones I love. This past year I brought my dog and she pulled me (literally) off in new directions too including an excellent juice stand, far from the center of town so I have to thank her for that!.

What are you currently working on?

I am working on a TV pilot about sex workers advocating for their rights as well as rewriting a TV pilot about a public school teacher coach. I’m also working on a play about a group of women in a domestic violence support group.

What are some highlights of this residency program for you? How can we make this program better?

The highlight for me is the very open nature of the residency. It’s as isolated or social as you want. It’s as low key or intense as you desire. I wouldn’t change anything!

What other residencies have you attended and how does 360 Xochi Quetzal compare?

Most of the other residences I’ve attended (Space on Ryder Farm, Omega Institute, Primary Stages at Bennington College, Playwrights Realm Alumni Retreat) are more group focused which is nice. It creates a sense of camaraderie. But this feeds the other part of my personality that just wants to do her own little thing and not speak to anyone until after noon.

Tell us about who you are as a writer and the trajectory of your career.

I’m a playwright who is branching out into TV writing and memoir writing. I’m concerned with social justice issues and how the personal and political don’t just intersect but lie in bed with each other all day everyday. I started off writing pretty straightforward naturalistic plays but recently felt more comfortable playing around with form. I like the idea of having art imitate life. Yes, our lives progress in this straightforward naturalistic way in one sense. But when you account for our rich inner lives and how they live alongside our day to day, you see how a true accounting of life can encompass both of those.

What productions are in the works for you in the coming year?

I’m a member of the Primary Stages Dorothy Strelsin New American Writers Group and we have a reading series every spring in which we showcase what we worked on throughout the year. That is my current focus – figuring out how to work with heart and a clear vision on my piece this year.

How do you support yourself as a writer?

I began my career as a teacher so I still do a lot of work in the education field – part-time teaching, consulting for education nonprofits, training teachers. I make some money from writing, too.

What advice do you have for writers who are starting out?

Learn your own unique process for writing and rewriting and then accept it and work within it. Don’t beat yourself up because your process isn’t like someone else’s or how you think it should be. I had to learn that the first time I hear criticism I hate it and think it’s stupid. Usually after I go home, take a walk, or a bath, I can actually hear what was said and then consider it for rewrites. That’s just how I am and I share this with my collaborators so they understand my reactions. I also know that I write best I focus on small chunks and that I need a lot of support around structure. Therefore I make my schedule like that and I invest in getting the support I need. Figure out what works for you and then don’t fight it.

Interview with Zahava Sherez

July 7, 2020

by Bethany Putnam Artist Interviews

Zahava Sherez is one of a growing number of visiting artists who come to Lake Chapala for a personal residency and then fall in love and return over and over.

You work in sculpture and mixed media. Tell us more about your materials and how you use them.

For the last 30 years I’ve worked as a carver with clay and stone. I always approach a medium searching for new ways of reinventing it challenging both the medium and myself. In recent years I began adding mixed media and masonry colorants to my clay sculpture after learning about Clay Printing (a technique developed by Mitch Lyons). I begin with a clayprint which I lift onto a synthetic texturized fabric, mount on wood and add layers of mixed media. It’s a long and laborious process but it gives me the results I desire and a new way of expressing myself.

You have lived and worked in many countries. How has this influenced your work?

Our life journeys are complex and have within them the positive and the negative, which deeply influence us. On one hand living in several cultures and countries (Argentina and Israel) has profoundly enriched me; hower, experiences of immigration, oppression, and war have scarred me. Over time, in searching for my truth and identity, I have integrated and embraced all of my parts. After years of feeling like an outsider and minority, I now consider myself a citizen of the world. Our human experiences do not divide us (only labels do that) but unite us regardless of color, religion, or nationality. These are recurring themes in my work.

You have had four personal residencies in Chapala. What keeps bringing you back?

I find Chapala, the culture, the town, the lake, and the entire area, to be a peaceful and inspiring haven. As soon as I drive from the airport up towards the lake and over the mountains, I begin to feel this special energy. The times I’ve spent in Chapala have enriched me physically, emotionally, mentally and creatively. Some of my best ideas have come to me during these residencies.

What does a typical studio day look like for you when you are here? What else do you enjoy doing in Chapala?

I am not a structured artist in the sense that I allow the flow to carry me, especially when I am in Chapala. I take plenty of time for contemplation, meditation, and long walks along the lake. I always take my iPad so I can take notes, photos, and draw whenever an idea or an image inspires me. Then, several days a week I work at the studio to further explore and develop them. I enjoy taking the bus into neighboring pueblos. The ride itself is an uplifting experience for me – I love how people relate to each other in an open and friendly way. I’ve made great friends in the area. We go to concerts, art openings, and eat out. There is a never-ending list of fabulous places to eat.

What were you working on during this most recent residency?

I have a very busy life back home. I teach almost everyday and I spend as much time in my studio as I possibly can. I’m quite involved in the San Francisco Bay Area art scene, and have a very rich family and social life. When new ideas begin to tickle my creative juices, I don’t always have the time to explore and expand them the way I would like. My residency this past July 2106 was all about expanding my ideas. I brought all materials I needed to work on these ideas. The time I spent in the studio in Chapala was extremely successful and rewarding. I returned to my home studio in Oakland, CA ready to work, having solved many technical problems during my month at the residency.

Tell us about your art school and career in California.

About 30 years ago I decided to quit the corporate/business world. I wanted to be, live, and make art. I began teaching at various institutions. Over time, as my name and teaching methods became known, I was able to start my own school. I teach adults and seniors in my studio in Oakland, CA, I teach in upscale senior facilities and also at homeless seniors through Alameda County. I also teach privately in my studio or the artist’s. I taught stone carving at Pixar Animation Studios for 8 years and occasionally I’m invited to teach in other countries including workshops in stone carving, clay sculpture, mixed media, clay printing, and the business of art. I primarily show my artwork in the San Francisco Bay Area, but I have also shown in New York, Corsica and most recently Paris. That was an amazing experience, to say the least.

What advice do you have for other artists who are considering a personal residency in Mexico?

The only place I’ve spent time in Mexico is in and around Lake Chapala. I’ve had people back home worry about the dangers of going to Mexico. The truth is that I can’t remember feeling safer anyplace else. I’m a single woman and I walk around all over town and neighboring towns, feeling completely safe. Since the US currency is very strong compared to the Mexican peso it is extremely affordable to treat yourself to massages, spas, facials, pedicures, acupuncture, eating out, luxuries that I have to think twice about back home. I’ve found a doctor, a homeopath, and a masseuse – all excellent! My advice is enjoy every moment, combine your creative goals with slowing down, enjoy the area and its people, pamper yourself and relax. The residency program is run very smoothly. Cobra and her team are friendly, available, and efficient. The casitas are very well maintained and equipped. The Middle Casita, where I usually stay, is very spacious with a large open live/work studio that is full of light and centrally located.

Where can we see more of your work?

You can view more of my work on my website: Zahavasherez

Interview with Sue Lindton

July 7, 2020

by Bethany Putnam Artist Interviews

Sue has been an enthusiastic participant in our personal residency program. She has visited Chapala annually for three years and intends to continue.

We’d love to hear about your fiber art journey

I started to knit when I was five. I have always loved the tactile feel of fiber and the endless colors. I am a person who needs to make things and working with fiber gives me energy and feeds my soul. Eight years ago, when I got burnt out from working in the corporate world, I bought a yarn shop so that I could be surrounded by color and people who spoke my language.

I’m sure our readers are wondering how you heard about the 360 Xochi Quetzal residency program and why you keep coming back.

I currently live in the city of Melbourne and have been a long time subscriber to the Textile Fibre Forum., the most comprehensive fiber magazine in Australia. The residency was advertised TFF and there were also two great interviews, one with the founder, Deborah Kruger and another with an Australian artist named Louise Saxton. There is something precious about time spent at a residency. You don’t have any housework to distract you and can forget about daily worries leaving you free to concentrate on your work. I love walking along the lake and not having to get into a car. The landscape on Lake Chapala is very inspirational and the Mexican people are so friendly. I’ve been coming every fall for three years and intend to continue.

Tell us about your current embroidery work

When I had my yarn shop, I had a customer who gave me skeins of gorgeous silk thread that she bought on a trip to China. I began to research silk embroidery and found out that the only teacher of Chinese embroidery in the Southern Hemisphere was a woman named Margaret Lee and amazingly, she lived in Adelaide, Australia! I began to take workshops with Margaret so that I could learn this ancient embroidery technique. I’ve been studying with her for 2 ½ years now and take 4 – 5 week trainings at least once a year. Margaret is also a master of Japanese embroidery and I am studying that as well.

You also weave. Tell us about this part of your textile life

Once I retired in 2014, I decided to commit time and money to study techniques that I wanted to incorporate into my art practice. In 2016 I was fortunate to be accepted to a 3-week workshop with Maxima Laura. He is considered a National Treasure and Master tapestry weaver in Lima, Peru. Studying with Maxima was a life-changing experience. He accepts 5 students twice a year and the workshop is held in his home studio. He doesn’t want tapestry weaving to die and as a result, he gives freely, holds nothing secret and allows us to see all his tapestries hanging throughout his house. This was a truly inspiring experience for me and my colleague.

What advice do you have for other artists?

Make sure you choose a partner who will give you the space you need to create, even if they do not understand your work or process. I married a businessman later in life to and I’ve remained financially independent from him. I recommend this. It’s better to want someone rather than need them. Dedicate your time and resources to perfecting your craft.

What are the qualities that are required for the detail oriented work you have chosen?

To work with silk embroidery or tapestry weaving it’s best to have a lot of patience and persistence. I find the work very meditative and not at all arduous. Being introverted and enjoying your own company are good qualities, since this work demands hours of concentration.

Interview with Alice B. Fogel

July 7, 2020

by Bethany Putnam Artist Interviews

Alice B. Fogel is the New Hampshire Poet Laureate, a five-year Governor-appointed position that enables her to promote poetry throughout the state and beyond. Alice has also published five collections of poetry and one guide to appreciating poetry even if you don`t “get” it. We share highlights from our recent conversation with Alice so our readers can hear about her many innovative poetry programs.

What is the mission of a Poet Laureate?

There are poets laureate in all but 5 states of the United States and additional positions in many cities. Our mission is to bring poetry to everyone regardless of age, education or status. I have free reign to imagine and implement programs, some of which I will describe for you.

Youth Poet Laureate
I’m excited to have initiated a 1-year position for a committed high school poet to write and advocate for poetry. The inaugural YPL is Portsmouth high school senior Ella McGrail, an avid writer and activist. This new position is supported by the NH Poetry Society, the NH Arts Council and the NH Writer’s Project. Ella will travel to schools and offer readings to students and teachers. http://www.seacoastonline.com/news/20170424/phs-senior-nhs-first-youth-poet-laureate

Refugee Poetry Project
Along with some of my poetry friends, and an art gallery open mic, we raised money for the Organization for Refugee and Immigrant Success (ORIS), which focuses on farming for immigrants and refugees in NH. The International Institute of New England for Refugees and Immigrants is hosting me and Portsmouth poet laureate Mike Nelson to offer creative writing workshops designed to give an opportunity for refugees to express themselves creatively and improve their English. Some of the countries represented by people resettled in NH through the IINE are Burundi, Nepal, China, Congo, Afghanistan, Iraq, and Columbia.

Raining Poetry: Bringing poetry to the streets

In a collaboration between industry and the arts, we have identified a kind of concrete protector product that we’ll use to stencil poems directly onto downtown concrete. The product dries clear and invisible. When it rains, the poems materialize on the sidewalk, only to disappear again as the suns comes out. We are rolling the project out in rural Walpole, NH and have hopes of introducing it to many other towns in the state.

Gathering New England Poets Laureate
At the 2017 annual Massachusetts Poetry Festival in Salem, Mass, I convened a first-ever meeting of all the New England poets laureate. We read poems to each other and our audience, and discussed the projects we have initiated in our states.

Vermont: Chard deNiord
Rhode Island: Tina Cane
Maine: Stuart Kestenbaum
Connecticut: Rennie McQuilkin

(Note: There is no poet laureate in Massachusetts despite periodic efforts to establish a position.)

Published Poet Showcase: An Anthology of NH Poets

I collaborated with Sydney Hall, Jr., the owner of Hobblebush Books, located in southern New Hampshire, to collect and publish the first print anthology of living NH poets. The collection is 125 pages and represents a wide variety of styles.

http://www.hobblebush.com/product-page/poet-showcase

Published my sixth book and fifth collection of poems: A Doubtful House
Bauhan Publishing has just released my most recent collection of poems. These poems are written in the voice of a house listening to its inhabitants. A Doubtful House explores what happens to boundaries–psychological, emotional, physical, even syntactical–when people live together for a long time.

“Challenging, wildly inventive, philosophical, as intense as it is intimate, A Doubtful House reveals and deepens our understanding of the strangeness within the ordinary… Her boundary-pushing syntax emphasizes the inevitable connects and disconnects of human beings in close proximity. A Doubtful House is ambitious and risk-taking, yet there’s a vulnerability in Fogel’s voice that humanizes and, yes, even celebrates that common struggle to remain ourselves while giving so much of that self to another.”

—John Sibley Williams, author of Disinheritance

http://www.bauhanpublishing.com/a-doubtful-house/

Since this is a five-year appointment, I have completed other projects and have several more in the pipeline.

I have compiled a list of all living and recently deceased NH poets. This compilation of 100 poets is organized by town and county so that libraries and schools can invite poets to do programs and buy their books.

There is now also a list of all reading series around the state of New Hampshire. Many of these are ongoing series, and they are held in a wide array of venues including barns, libraries, meeting houses, coffee houses, and bookstores. Hundreds of people are going out to listen to poetry every month and this compilation will make it even easier for readers to find a venue in their area.Along with the NH Writers Project, I am developing a collection of ten poetry curricula for educators, with themes, readings, prompts and guidelines.

Along with the NH Writers Project, I am developing a collection of ten poetry curricula for educators, with themes, readings, prompts and guidelines.

The NH Chapter of the Women’s Caucus for Art is collaborating with me to develop a traveling exhibit of interconnected art and poetry, which will first show in 2018.

In my efforts to bring poetry to the widest possible audience, I have presented readings, talks, writing workshops, and programs to a variety of participants, including (but not limited to) prisoners, the elderly in retirement homes, the mentally ill, children, teachers as part of their professional development, and poets themselves at all stages of their writing lives.

Since you asked, here’s some advice for poets young and old

Be ambitious for your poems; make them as great as they can be.

Don’t give up on your poems too soon; keep pushing them to become more interesting and layered.

Don’t give up from rejection; it’s part of the writing life.

Alice’s Other Recent Books

INTERVAL: Poems based on Bach’s Goldberg Variations (2015)

This brilliant collection won the Nicholas Schaffner Award for Music and Literature and the 2016 NH Literary Award in Poetry and was featured in O Magazine.

STRANGE TERRAIN: A Poetry Handbook for the Reluctant Reader (2009)

This warm and accessible resource is written for anyone wanting to learn more about how to read poetry.

http://www.hobblebush.com/product-page/strange-terrain

Visit Alice’s website: http://www.alicebfogel.com/

Biography

Alice B Fogel is New Hampshire’s poet laureate. Her 2017 collection is A Doubtful House, and 2015’s Interval: Poems Based on Bach’s “Goldberg Variations,” won the Nicholas Schaffner Award for Music in Literature and the 2016 New Hampshire Literary Award in Poetry. Her previous book, Be That Empty, was a national poetry bestseller. She is also the author of the guide for readers and teachers, Strange Terrain, on how to appreciate poetry without necessarily “getting” it. A recipient of a National Endowment for the Arts fellowship and other awards, her poems have been anthologized in Best American Poetry, Poet’s Choice, Poetry Daily, The Poetry Foundation, and elsewhere, and have been nominated nine times for the Pushcart Prize. She works one-on-one with learning-disabled students at Landmark College in Putney, Vermont, is an avid hiker, and lives in Walpole, New Hampshire.

Interview with Jenine Shereos

July 7, 2020

by Bethany Putnam Artist Interviews

Jenine Shereos’s residency application was jaw-dropping. Her small sculptures made with human hair were exquisite and unique and a good reminder that small work can pack a powerful punch. Like many who come to the residency, she abandoned her initial plan and responded instead to the materials available here in Chapala. The result was a spectacular site-specific installation.

Your website features amazingly delicate work using human hair. Tell us about what this material means, why you use it, and some of the history of hair art.

For the past few years, I have been attracted to working with hair. I often think of my work as dimensional drawing, and as a material, hair has the potential to produce such a fine, delicate line. I love the idea of working with detritus that is part of our everyday lives but goes unnoticed, and what it means to transform such a material and attribute meaning to it. I am also fascinated with the personal quality of hair. I love that it is an extension of the self that goes out into the world and is encoded with our unique DNA. It functions as a sort of memory or a trace. There is the reference to the Victorian mourning jewelry popular in the 1800s. And then there is of course the attraction/ repulsion juxtaposition. Hair is seen as attractive and even luxurious when it is on one’s head, and at the same time repulsive or disgusting when found as a single strand apart from the head.

Your residency was in Chapala, a small town in central Mexico. You live and work in Boston. How was it for you being in such a different environment and how did it influence the work you did during the residency?

Leaving behind the cold, dark New England winter for a month in Mexico was a welcome change! I was incredibly inspired by the light and the vibrant colors in Chapala, and I think that really came through in the installations I created while I was there.

Your residency included visual artists, writers and a musician who seemed to form a special sense of community. Tell us about how this affected and inspired you during the residency.

I loved getting together with the other artists and talking about the creative process. It was great having a broad background of visual artists, writers, and a musician, and I really enjoyed seeing and hearing what everyone was working on. I have kept in touch with the artists that I met, and getting to know them was definitely a highlight of the residency for me.

What can you share about your creative process during your residency? What ideas were you exploring? How did your work change during the residency?

Before arriving in Chapala, I had planned to work on a weaving project during my residency since I knew I would have access to a loom. After taking several walks around the neighborhoods of Chapala, I realized that I wanted to respond to the vibrant color and light of the location. There was a shop on my street that sold fabric flowers, and every time I passed by, I stopped to admire the wall of striking colors. I started buying some of the flowers and soon, despite my extremely limited Spanish, I made friends with Dora, the owner of the shop and her husband Luis. They were so kind and welcoming and we shared many funny moments! At home, I would never be drawn to working with artificial flowers, but in the context of Chapala and the space where I was working, it made perfect sense. Coming from Boston, sitting in the sun and working with color in the middle of winter felt very therapeutic for me as well. I was also very inspired by the layout of the house where I was staying. On the second floor there was a room that was essentially four walls, but without a ceiling. There was a ladder where I could climb up to a higher part of the roof and look down on this space while also overlooking the city of Chapala. I really liked the idea of creating a site- specific installation in this space.

You have been to other artist residencies. What was special about your time at 360 Xochi Quetzal? What were some of the highlights of the residency? What was hard or challenging?

I loved having the opportunity to create my art while also experiencing a different culture and exploring a new place. Working in my studio, I would get into my own headspace, but the second I walked out the door I was immersed in another world. The whole experience was very inspiring and stimulating. Also, Cobra and Christian are so generous and hospitable. I really enjoyed getting to know them as well as the other artists.

Jenine, you are preparing for a solo show at the University of Massachusetts in Amherst. What else are you working on?

I’m really excited about my upcoming solo exhibition at the Hampden Gallery at UMass Amherst in the Spring of 2017. It will be my first solo-show since graduate school, and I look forward to pulling together many of the concepts and materials I have been exploring over the past several years. After living in Boston for ten years, I am getting ready to relocate! Beginning in September 2016, I will be the Fibers Artist-in- Residence for a year at the Appalachian Center for Craft in Tennessee.

Where can we read about and see more of your work?

http://jenineshereos.com/

This summer, I will have a piece on view at Trestle Gallery in Brooklyn, and in September, I will have several pieces from the Leaf series on exhibition at Tower Hill Botanic Garden in Boylston, MA. Also, in October I will have a piece in the Miniartextil 2016 exhibition in Como, Italy.

You can see the projects that I worked on during the 360 Xochi Quetzal residency on my website at:
http://jenineshereos.com/section/410873_Bloom_2015.html and
http://jenineshereos.com/section/410876_rbol_azul.html

Your website features amazingly delicate work using human hair. Tell us about what this material means, why you use it, and some of the history of hair art.

Your residency included visual artists, writers and a musician who seemed to form a special sense of community. Tell us about how this affected and inspired you during the residency.

What can you share about your creative process during your residency? What ideas were you exploring? How did your work change during the residency?

You have been to other artist residencies. What was special about your time at 360 Xochi Quetzal? What were some of the highlights of the residency? What was hard or challenging?

Jenine, you are preparing for a solo show at the University of Massachusetts in Amherst. What else are you working on?

Where can we read about and see more of your work?

http://jenineshereos.com/

Interview with Louise Saxton

July 7, 2020

by Bethany Putnam Artist Interviews

Louise Saxton was our first resident from Australia. Her work with reclaimed embroidery is truly unique and you will enjoy her thought provoking interview.

You work with reclaimed embroidery. Please tell us what you mean by that.

My main art material over the past nine years is discarded needlework, which is primarily vintage or antique hand-made embroidery and lace. Doilies, tablecloths, bed linen and clothing, which were painstakingly and lovingly made for functional and aesthetic domestic purposes in previous eras, are now culturally redundant in our ‘throw-away’ contemporary world. I use the term “reclaimed” as I am claiming the original domestic objects for a new purpose. I rescue these materials from charity/thrift shops and markets and I am fortunate that friends, family and even strangers also contribute needlework to my collection.

Tell us about the path you took to the reclaimed embroidery work you are doing.

My art school training was in drawing, painting and printmaking, but over the past nineteen years ‘the home’ has been central to my art practice. While I have no formal training in textiles, I grew up in a family where making things by hand was valued and textiles were at the centre of domestic productivity and creativity. My mother was an avid knitter and excellent dressmaker and she taught me to sew and knit my own clothes. Also, my Nana constantly crocheted. It’s interesting to reflect on my childhood in relation to my current practice in combining my use of reclaimed textiles with my reinterpretation of historical imagery. As a teenager I reinterpreted a number of my mother’s vintage knitting patterns from the 1930’s and 40’s. By knitting the garments in high-key colours popular in the 1970’s I was contemporising, while keeping alive, the exquisite patterns of an earlier era. This is what I am trying to do in my practice today – to reinvigorate and also restore value to the exquisite needlework and pay homage to the artisan needleworkers of the past.

You work with pins more than stitching. Tell us why and how this technique developed.

I rarely stitch down any of my textiles, although I have in the past used a vintage sewing machine to stitch the reclaimed needlework to layers of tulle and silk. Now I primarily use stainless steel or brass lace-pins to hold the textile fragments in place. This adds a sculptural element to the relief-work, as there are countless pins in each assemblage. In the case of my bird imagery in particular, the pins add a sense of light shimmering on the feathers.

The pins also have significance beyond their practical use in their fascinating and gruesome historical origins and also in what they may represent metaphorically and conceptually in terms of pain. This includes the painstaking labour of needlework traditions and the pain of loss associated with disappearing traditions and species in the natural world. I am also interested in the fact that during the industrial revolution the ‘pointers’ whose sole job it was to grind the head of the pin, inhaled the tiny shards of metal and acquired a deadly lung disease known as pointer’s rot.

I have developed calluses on my fingers from all the pinning, unpinning and re-pinning it takes to make each of my pieces and every time I get a pin prick, it is a sharp reminder of the pain associated with these traditions over the centuries.

What have you learned about embroidery and other needlework traditions that you can share with our readers?

Needlework is an ancient art form, beautiful as well as practical, and whether simple or complex in design it is painstakingly constructed. Historically, handmade embroidery and lace were as economically valuable as gold and silver. Many cultures have needlework traditions and it has often been the burden of the poor to create exquisite garments for royalty and nobility. Even in indigenous cultures which don’t embroider or make lace, there is often exquisitely woven baskets and other vessels, or intricately woven or beaded clothing and headdress. Needlework is cross-cultural, but sadly in most parts of the world today, it is in danger of disappearing.

As the first Australian to attend 360 Xochi Quetzal, tell us what drew you to a residency in Mexico.

Initially, I was drawn to the residency by a stunning photo of Lake Chapala under the spell of a magnificent sunset, which was posted on Textile Fibre Forum’s online newsletter, with the heading “Free Artist Residency in Mexico”. What drew me to the residency in relation to my own practice was the fact that Mexico still has a living tradition of embroidery, albeit a fragile one. I also found it fascinating that the residency was named for the goddess of artisans, Xochi Quetzal, and in particular she is the protector of embroiderers and weavers!

On a practical level I was drawn to apply because the program offered a self-contained living/working environment, which looked (and indeed was) very comfortable and aesthetically inspiring. The location on the largest freshwater lake in Mexico, with an abundance of bird life was also a wonderful draw. The fact that the residency is sponsored and run by North Americans also made it very accessible, as I don’t speak Spanish.

What were some of the highlights of your residency?

The opportunity to live and work in Mexico for a month and experience another language and culture every day; to spend time with other artists connected to the residency and make connections with some local artisans; to seek out and acquire (with much support from the residency patrons and other knowledgeable people in Chapala) some exquisite embroidery for my collection. I was also able to commission three Mexican flowers embroidered in silk by an artisan in the nearby pueblo of Ajijic. Along with the exquisite and rare Tehuantapec embroidery I purchased in Tlaquepaque, my collection and my next body of work, have been greatly enriched.

What can you tell us about the work in your upcoming show at Gould Galleries in Melbourne?

My second solo show at Gould Galleries will be in November 2015. Is the celebration of flora – its glorious variety, colour, form, its strength and fragility. I continue my use of reclaimed needlework (and other materials) including antique textiles purchased in Mexico, to make a link between the domestic archives of home and the public archives of the museum and, to draw attention to the loss of domestic art traditions and species in the natural world.

What could be improved in the 360 Xochi Quetzal residency program?

I really could not fault the program for anything, as it was so supportive and inspiring. We were each provided with a beautiful, self-contained casita in a fabulous location, a food allowance, good Internet and an entre into a community of interesting people associated with the residency program. We were given an opportunity to relax, explore and work as we each desired. We were given the opportunity to have fun and form new friendships, through art and immersion in the vibrant life that is Chapala, Jalisco, Mexico! My heartfelt gratitude goes to Deborah and Christian for this inspiring, once in a lifetime opportunity.

See more of Louise’s art on her website: www.louisesaxton.com

Read more about Louise in Textile Fibre Forum: Louise was recently interviewed in Textile Fibre Forum, the premier textile magazine in Austrailia. To read her interview, order a back copy of issue No. 117, Spring 2015: http://artwearpublications.com.au/back-issues.html?p=9

Interview with Catherine Armbrust

July 7, 2020

by Bethany Putnam Artist Interviews

Catherine was the first resident at 360 Xochi Quetzal. We received over 100 applications from talented artists around the world. As we evaluated the images, videos and manuscripts, Catherine’s work stood out. It was fresh, authentic and passionate. We really wanted the residency to make a difference in the artist’s work and process and as you will read below, Catherine squeezed every bit of inspiration from every hour she was in Mexico. Enjoy!

Describe a typical day during your artist residency

One of my favorite parts of each day was waking up in a sunny bedroom and gazing at all the birds—especially the hummingbirds—enjoying the gorgeous bougainvillea bush outside the window. After a little breakfast and tea I would normally work in the studio most of the day, taking a break for lunch or to run out to buy art supplies at the local papeleria (paper supplies). Most evenings I would walk down to the lake to watch the sunset, then wander through the neighborhood to find a taco cart or cenaduria (only open for late dinners). The town has a different personality during the day so sometimes I would shop in the mornings in order to buy salsa or herbs at the plaza and fresh tortillas at the tortilleria (torilla shop). On the weekends I spent a lot of time down at the malecon (promenade by the lake), people watching…and knitting—I always met interesting folks when I knit on the boardwalk.

Your residency was in a small town in Mexico, a place that you didn’t know. How did finding your way around and exploring the town affect your residency experience?

The residency house is located in truly the perfect place—situated in the middle of a neighborhood bustling with small, local businesses and only about 5 blocks from the lake’s malecon, as well as a huge, shady park. I wandered down a different street almost everyday to see what new stores and eateries I could find. This type of wandering allowed me to not only find supplies for my collages, but also to enjoy the varieties of colors, patterns, and textures used for the neighborhood architecture and signage—which translated into my work—and discover delicious treats along the way. One day I ran across a woman selling quesadillas outside her home; another day I was quite thirsty and found a guy selling the most delicious “diablito” drink from his bicycle cart. Walking through town and following my inner compass rewarded me with interesting interactions and fantastic sights. I fell in LOVE with Chapala—everyone was so kind to me—it is wonderful to be in a place where folks greet each other on the street.

When you arrived in Chapala, you had just finished a graduate program in Fibers. What can you share about your creative process during your residency? What ideas are you exploring?

I had just finished a very intense year (well, 3.5 years) making, researching, and writing about pop culture, mating rituals, gender stereotypes, and personal ornamentation. The graduate program simultaneously built me up and beat me down, so I was extremely grateful to have this experience and time to make work on a different physical and intellectual scale. The work I made in Chapala was still related to my thesis work in terms of materials (sequins, glitter, lace, etc.), concept (idealism in media), and masking/ornamentation (in relation to the figure or character). Instead of large-scale costumes and installations I worked on a series of brightly colored collages based around anonymous figures/characters found in magazines and cultural archetypes—like pop stars and religious icons.

I also had the need to work on something more dimensional so I created a small vessel (inspired by Jerry Bleem’s work) made up torn loteria cards and staples, as well as a large-scale sculpture made of hula hoops and recycled “trash” that now hangs from the side of the residency house.

You hadn’t ever been to an artist residency before coming to 360 Xochi Quetzal. How has this time alone influenced your work and thinking?

I know that most residencies often have a group of artists living and working in close quarters—a treat for folks who might be missing that type of community. Since I had just finished graduate school I had been privileged to be a part of a close-knit art community for the past 3.5 years. It was actually a nice change to be on my own for a bit. I think that being alone—rather than being surrounded by other artists everyday—allowed me to tone down my “filter”. Instead of questioning every color, material, image, and object placement as I would in graduate school, I let myself make decisions with less judgment and more freedom. Sometimes I would ask myself, “Does this make sense?” and sometimes I would answer, “I don’t care…just do it.” I mostly tried to follow the “What if…?” in order to see where the work would take me. Part of me did miss being able to get another set of eyes on the work in progress though.

What were some of the highlights of the residency for you? What was hard about this month?

I often have a difficult time being able to sleep in a new place. From my first night there I slept beautifully. That to me was a sign that I was in the right place.

Having this time to just work was a gift. I had been working long days finishing up my thesis work and writing my paper, so that routine of hours in the studio was already in place. But this time I was more relaxed doing the work!

Other highlights included the migrating white pelicans and hummingbirds; the holiday cheer and decorations; the family band & people watching at the malecon; the FOOD (tamales, ponche, champurrada, tacos, pozole, etc.); new friends (Deborah introduced me to Chris, Jackie, Alberto, Norman, Ernie, Rich, etc.); the sunsets; practicing Spanish; being near water; and being able to just wander and explore a new place. It was all an incredible adventure.

I am extremely grateful for the house’s wonderful Wi-Fi—I was able to Skype with my family whenever I wanted, work on my blog, and load photos onto Facebook. Having Internet at the house helped me keep in touch and feel closer to my loved ones.

What else can you share about your residency experience? What surprised you about it?

The aroma of this land struck me the moment I stepped off the plane—it has always amazed me how a place can smell like smoke and dust and sunlight and simultaneously feel so fresh and wonderful. I studied in Guadalajara for a semester when I was an undergrad and Mexico has been embedded in my soul ever since. I was thrilled to have been accepted to this residency—and the first of the venture no less—so that I could return to the region that I fell in love with 20 years ago. I was surprised at how immediately comfortable and “at home” I felt in Chapala and at the house. I would love to return to Chapala one day and perhaps follow through on the installation ideas I had. I would also love to share the area with my husband. This magic place has definitely impacted my body/mind/spirit in very positive ways. Thank you so much for granting me this opportunity to explore. -Catherine Armbrust

To read a recent interview with a video about Catherine: http://www.voxmagazine.com/stories/2013/03/07/catherine-armbrust-displays-craft-studio-show/print-story/

Interview with Karen Lentz

July 7, 2020

by Bethany Putnam Artist Interviews

Karen Lentz was the first resident writer at 360 Xochi Quetzal. We just acquired a new space in Chapala that seemed perfect for a writer looking for solitude but with all the comforts of home. Karen was here in October 2013 along with our visual artist, Yuki Siroi, who ended up doing a mural on the building where Karen was staying. They both appreciated the growing sense of community that we are building at 360 Xochi Quetzal.

Give us some background about yourself as a writer and why it was important for you to attend a residency at this point in your career.

I am writing a book around the subject of work, which shapes people’s lives in profound and often unexamined ways. My “day job” in the technology field is demanding which means that I work on the book in leftover time, so progress is steady but slow. The residency came at a particularly opportune time — I was about 80% finished with the manuscript, and what I needed most was dedicated time to flip the priorities and put my creative project first in order to accelerate the time it was taking and bring the work to fruition.

How did you structure your time during your writer’s residency?

I would focus on writing one chapter each week, and I also spent a day every week working on submissions of earlier pieces so I could get some of my other work out there.

Starting early worked best for me. If I got in a good morning’s work, I felt good about the day even if I didn’t accomplish anything else. I often kept going through the afternoon or evening. Working primarily in the morning also allowed me to enjoy a siesta in the heat of the afternoon.

How did you hear about 360 Xochi Quetzal and why did you choose to apply to a program in Mexico?

I heard about 360 Xochi Quetzal via the Alliance of Artists Communities (http://artistcommunities.org/). I was starting to apply for residencies, and thought the setting sounded perfecta: a place to disconnect from the usual daily distractions and also a rich place to experience. I used to go to Mexico a lot, and had always wanted to spend more time there, so it was an optimal combination.

Your residency was in Chapala, a small town in central Mexico. Tell us about how you found your way around and explored the town.

Exploring new places is one of my favorite pastimes. I’ve been fortunate enough to travel to many parts of the world, but it is different when you live someplace. I noticed that carrying groceries home makes a person look like a local – when I did that, people stopped looking at me like a tourist. Chapala is a small enough town that, after awhile, people recognized me and I recognized them. I got to feel a part of the place in a way that I hadn’t anticipated.

I never had much of a plan as far as finding my way around – I just ventured out every day and little by little, figured out where things were. Some of my favorite spots in Chapala were the Centro Cultural, and the trail up to the top of the hill overlooking the town. I also developed a habit of visiting one particular ice cream vendor – I really miss that!

What can you share about your writing process during your residency? What ideas were you exploring? How did this time focused time influence your work and thinking?

I am used to writing in short bursts, and the time in Chapala was the opposite. I got used to working in a more continuous way, being more immersed in the subjects over the course of a day or a week. Usually I’d write for awhile and then sometimes I’d go out walking and think about what I was doing, or sometimes I’d do some research for a chapter. So even when I wasn’t writing, I tried to direct all my activities toward the particular piece I was working on.

In a way, it felt odd to be working on this book about a fast-paced, high-tech lifestyle in the middle of a town where that lifestyle doesn’t exist. I think (I hope) that might have ended up making some of the writing more meaningful because I was very aware of the context of the larger world, even while I was examining what might be considered a particular American subculture.

What were some of the highlights of the residency for you? What parts were hard for you?

One of the highlights was getting up in the morning, having breakfast out on the patio, and then sitting down to write, as if this were my job. I can think of so many mornings where I’ve wished I could do just that. Getting to live the life of a writer was really satisfying, even though there were plenty of frustrating writing days. Restoring myself to a natural sleep schedule was also great, and I loved meeting so many interesting people.

The first few days were absolutely the hardest part for me, to be taken out of a routine and suddenly dropped into a new life. I was assailed by doubt about what I was doing and whether it was a good use of time, whether I could actually accomplish what I was planning to accomplish. I guess you’d call it culture shock, but by that I don’t mean the culture of Mexico, I mean being in a totally unfamiliar state where every minute wasn’t already packed with demands that told me what I had to do next. It took me a week or so to get acclimated to that, to get my bearings and start to feel somewhat normal.

How did the natural surroundings influence or affect your work?

I had a favorite spot by the lake at Parque de la Cristiania in the morning when there weren’t many people around. These moments were all about serenity — listening to the wind in the trees, following the birds in the marsh, watching the fishing boats on the lake. Although my book isn’t focused much on nature, these times were lovely and nourishing.

Some writers come to a residency with a particular creative game plan. Others just arrive open to whatever inspires them at the moment. How did you approach your residency and how did your creative time compare to what you anticipated?

For me, this was precious time, and I wanted to make sure I used it well. I had a pretty specific game plan which I didn’t follow exactly, but having it helped me become more productive. I don’t think I would have gotten anywhere just being open to anything, but then I had a very concrete goal in finishing the book. Of course, plans are always somewhat ambitious, so I didn’t finish everything I wanted to, but I got close, and I definitely left satisfied with what I accomplished.

What else can you share about your residency experience? Were there any surprises?

I really appreciated my fellow resident Yuki Shiroi (see Yuki’s interview on our website), who shared the adventure and painted some amazing murals. Every day in Chapala was a surprise, really. I would love to come back.

To read excerpts of Karen’s work, please download here: Download The Sounds

Posts in category: Artist Interviews

Video Interview with Georgia Rowswell

Interview with Charlotte Hildebrand

Interview with Elizabeth Irwin

Interview with Zahava Sherez

Zahava Sherez is one of a growing number of visiting artists who come to Lake Chapala for a personal residency and then fall in love and return over and over.

Interview with Sue Lindton

Interview with Alice B. Fogel

Interview with Jenine Shereos

Interview with Louise Saxton

Louise Saxton was our first resident from Australia. Her work with reclaimed embroidery is truly unique and you will enjoy her thought provoking interview.

Interview with Catherine Armbrust

Interview with Karen Lentz

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