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Diversity and the Creative Process
By David L. Johnson
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I have been weaving tapestries and producing other fiber related work for more than 30 years. . . . the simplest explanation I can offer for sustaining my own creativity is that I work concurrently on diverse projects and that allows for an ongoing change of focus and renewing of energy. . . .
. . .Ideas generated from one series often overflow into another in some way or other. . . . when all else fails and I am just not sure what to do next, I step away from it all and knit a sweater, crochet a scarf, learn a new piece on the piano, or, best of all, go on vacation and leave everything behind for a time. |
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Below: David Johnson, Artifacts: Bryn Mawr Storm Drain, 10" x 16" x 2", 2007; digitally altered photo on inkjet canvas, bead embroidery, handmade and dyed twig beads, glass beads, waxed linen, painted industrial felt, painted stretched canvas (for mounting - not visible)
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Below: David Johnson, Button Necklace, 36" long, 2006; knotted waxed linen with buttons and glass beads
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Below: David Johnson, Edge No. 2, 6" x 10" x 2", 2006; cotton warp, wool weft, painted bamboo, digitally printed paper beads, glass beads, waxed linen, painted industrial felt, painted stretched canvas (for mounting - not visible)
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Below: David Johnson, Spirits: Circus Mask, 4.5" x 6" x 1", 2003; digitally altered photo on inkjet canvas, bead embroidery, painted industrial felt, painted stretched canvas (for mounting - not visible)
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Below: David Johnson, Glass Block Window Box, 3.25" x 3.25" x 2.25", 2008; handmade Origami box using colored card stock, digitally altered photo on Epson paper, beads, waxed linen
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Mining the Vein of Creativity
By Tommye McClure Scanlin
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. . . I continue to find myself challenged to discover ways to mine the vein of creativity. I search for inspiration and, once found, I am then confronted with the challenge of how to turn those ideas into tapestries. . . . I learned that I must . . . show up for my artistic work every day to have any chance of discovering [what] lies hidden, waiting to be uncovered. . . . I must deal with image making in some way. I look, draw, paint, take photographs, read, ponder, write, and weave. . . . . it’s a challenge that can be rewarding in many unexpected ways. I have found that I must do this to pursue what I truly love, the making of images and the weaving of tapestry.
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Below: Tommye Scanlin, Spring Profusion, 30” x 25”, 2008; wool & cotton
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Below: Tommye Scanlin, Yates, 34” x 16”, 2006; wool & cotton; private collection
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Stimulating and Maintaining Creativity
By Michael Rohde
Stimulating and maintaining a creative ‘high’ seems the ideal of anyone trying to make something new, but being constantly in an innovative mode is not necessarily an ideal situation. . . . The ‘ah-ah’ moment comes when you stop thinking about it. Tapestry weaving is an art that does not lend itself readily to generating inspiration on the spot while you are working on a given piece. . . . creativity for that piece comes during the design. . . . while carrying out the rote motions of the weaving process for the first piece, there is time to think and daydream, and look ahead to the next thing you will weave.
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Below: Michael Rohde, Winter/Lake Biwa, 59” x 48”, 2001; wool, dyes, tapestry; Collection of The Art Institute of Chicago; photo by Andrew Neuhart.
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