AMY MEISSNER
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In the deep well of series work.

8/6/2015

5 Comments

 
"The most important benefit of working in a series is that it helps you learn how to work from your own ideas and discover your own unique voice [...] Become aware of the the work that excites you, intrigues you, and makes you back to look at it again. This is the kind of work you should be making."

Elizabeth Barton, Visual Guide to Working in a Series: Next Steps in Inspired Design

If you've considered working in a visual series but aren't sure where to begin, you may want to take a look at Elizabeth Barton's book. Especially if the last series pieces you did were those enormous watercolor nudes in undergrad with the nipples that look strangely like bowler hats, which are a bit too graphic to hang on the wall now that you have small children (note that I am not including a photograph, this is a family blog here, people), and/or also, you feel perhaps like you've forgotten how to create anything in a series other than macaroni and cheese dinner out of a box.

A few months ago, I answered an interview question about one of the three series that I'm engaged in called Girl Story. I'm republishing it here since I'm thinking a lot about this series right now. I've got the fourth Girl Story on the wall and the 5th is waiting in the wings, with perhaps a 6th elbowing her out of the way back there behind the velvet curtain. If I don't attend to these ladies soon, somebody's going to get an eye poked or launched off the stage into the mosh pit.

But maybe that's a good thing.

Amy Meissner, textile artist. Girl Story #2, detail. From the post In the deep well of series work. www.amymeissner.com/blog/in-the-deep-well-of-series-work

This is question #4 from Kari Lorenson's interview at Knotwe: The Hub for Fiber, Textiles, Surface Design:

"Girl Story seems like a turning point in your work. When I look at Girl Story, it broaches a subject matter that is not talked about in the public sphere but it is an experience of womanhood.  Quilts are interesting forms for art because of their multi-faceted history in the domestic/ private sphere to a unique history almost entirely dominated by women. The history as a social document is a rich history as well and there are many aspects about the quilt as an object that are interesting to explore. Did this piece have an impact on how your process and where your work is now?"

Amy Meissner, textile artist. Spontaneous Combustion. From the post In the deep well of series work. www.amymeissner.com/blog/in-the-deep-well-of-series-work
"Spontaneous Combustion" (54 x 77), 2013.
Amy Meissner, textile artist. Girl Story. From the post In the deep well of series work. www.amymeissner.com/blog/in-the-deep-well-of-series-work
"Girl Story" (22.5 x 37.5), 2014.

Girl Story, like Spontaneous Combustion, wasn’t so much a turning point as a direct response to where I am as a woman and a mother. If Spontaneous Combustion was the question my son asked repeatedly when he was four and my response to postpartum anxiety and the domestic role in general, then Girl Story and Girl Story #2 are the questions waiting to be asked by my daughter and my internal struggle with how to present a normal life process in a way that honors how menarche could be for her, while still acknowledging how it was for me, my mother, her mother, etc.

Amy Meissner, textile artist. Girl Story #2. From the post In the deep well of series work. www.amymeissner.com/blog/in-the-deep-well-of-series-work
"Girl Story #2" (35.25 x 35.25), 2014.


Girl Story #3 veers slightly, and came about when I was working on the Reliquary Series. I began the piece assuming it was a Reliquary, but deep into it realized that it was my response to a loved one’s addiction and her inability to be a mother for her three children for a time. It was another Girl Story, another struggle related to womanhood made all the more painful by the fact that for all of us with children there are many moments — some of them fleeting — when we just check out and become unavailable. I think it’s a series I’ll work on for years. My role is evolving, so my work naturally will. This is a deep, deep well.

Amy Meissner, textile artist. From the post In the deep well of series work. www.amymeissner.com/blog/in-the-deep-well-of-series-work
Work in progress, "Girl Story #3," 2015.

The fact that these pieces are “quilts” is important to the emotional quality of the work. We approach quilts and embroidery with a certain set of expectations and aren’t necessarily prepared to see embroidered menstrual blood on doilies or hear frightening questions from children. I don’t do this for shock value — I find shock value flaccid and annoying — I do this because they are living questions for me and therefore have value. If they are shocking, that’s secondary and something brought to the piece by the viewer’s own life experience.

Amy Meissner, textile artist. Girl Story #3. From the post In the deep well of series work. www.amymeissner.com/blog/in-the-deep-well-of-series-work
"Girl Story #3 (26 x 26), 2015.
Amy Meissner, textile artist. From the post In the deep well of series work. www.amymeissner.com/blog/in-the-deep-well-of-series-work
Work in progress.
Amy Meissner, textile artist. From the post In the deep well of series work. www.amymeissner.com/blog/in-the-deep-well-of-series-work
Work on hold.

Are you working in a series? Have thoughts about this process? We'd love to hear them shared here, so leave a comment. We're all about learning from others around this place.

Also, if you'd like to read more about the Girl Story Series, check out the previous posts "A history of pretty" and "Write a letter to your mother."

5 Comments
Leisa Rich link
8/7/2015 10:25:32 pm

I am completely smitten with your girl Story quilt 2014 (Scrub Harder on the right). Really excellent concept, awesome negative space, intriguing, pulls me in for a closer look. I think your work is getting more and more sophisticated; I am not surprised that one won a juror award!

Reply
Amy Meissner link
8/12/2015 12:36:11 am

Hello Leisa,
Thank you so much for taking the time to read and comment on the post. I appreciate your kind words about my work.
All the best,
Amy

Reply
Anita Joy
8/12/2015 01:57:09 pm

Now that I am in my early 50s with the long slow leave-taking of perimenopause, my experience of menarche is so vivid. Your 'work on hold' has my long-dead father's words ringing in my ears:

You won't be told.
You can't be told.
You won't listen.

Gawd, it was hard becoming a woman in my neck of the woods!

Reply
Amy Meissner link
8/16/2015 12:20:52 am

Anita,

The words you've shared have been ringing in my own ears for the last few days until I could respond here. This is haunting and heartbreaking, thank you so much for putting it on the page here. While "becoming women" is incredibly hard, I can't help but read these words specifically and apply them to "becoming men." How many boys out there hear similar words and then take them to heart, really believing? Such a cycle.
I appreciate your taking the time to read and comment~
XO
Amy

Reply
Betty Loechel
9/11/2015 10:21:59 am

I love your work. I really like how you used felting/stones in the wall hanging you created. Also, just curious...I went To Newcastle Elementary School, Reseda, Calif..so many years ago...Perhaps is that the same Newcastle you went to?
Warm Regards,
Betty

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    Amy Meissner, textile artist. Photo credit Brian Adams, 2013. www.amymeissner.com

    Amy Meissner

    Artist in Anchorage, Alaska, sometimes blogging about the collision of history, family & art, with the understanding that none exists without the other.

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  • Home
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