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By Susan Gallacher-Turner

Below, Nanette Davis working on a basket; on the wall is a sculpture by Nanette.

When Nanette was a young girl, she loved making things from unusual materials. At her granny’s, she used crayons on old matchbook covers to create mini scratchboard pictures. At home, she stitched doll clothes with green thread and left-over orange fabric.

Today, she weaves together hand dyed silk fabric with aluminum foil and acetate or screening to create her unique sculptural baskets and wall hangings. Her journey and her process have been full of experimentation and surprises.

An important part of Nanette’s process involves shibori, a Japanese term for many different tie-dying techniques. Nanette explains, “Every time the process is different. That’s the fun thing about shibori. Sometimes you get surprises and you’ll go, oh, I wasn’t expecting that.

Out on her porch, she wraps white silk fabric around large plastic tubes securing it with string; then she paints on the colored dyes and lets it dry. She explains, “Where the string is wrapped, it will be white, but most of the time, I paint that too.” Another method she uses involves stitching rows and rows of thread by hand, then pulling it together, like smocking, before applying the dye. According to Nanette, it’s important to do this by hand, “You have to do it by hand to really get the effect of the wood grain, when I finally finish, I’ll pull it all together and have this narrow piece of fabric.

Below, Nanette demonstrating the shibori process.

Once the fabric is ready, Nanette bonds it to a base to give it the support needed to shape into one of her unique three dimensional forms.

She explains, “If I want to make a wall hanging, then I bond the silk to wire screen. Then I turn the ends under and pleat them, and form them. After I get a whole bunch made, I start clipping them together to make my design. Then I stitch them together. At the very end, I sometimes add paint to the ridges, or raw screen like pleated step.

If Nanette’s making one of her newer basket forms, she bonds the silk to aluminum foil or clear acetate and then cuts it up with her rotary cutter into long, thin strips. The bonding materials add another layer of texture to her sculpture, she says, “The nice thing about the foil is that the silk has a translucent quality to it and you can see the shine from the foil come through the silk. I only bond the acetate on one side. It looks kind of like glass.

No matter which technique she uses, there is always that element of the unexpected. Nanette explains, “When I discovered that I could make my work three dimensional with plaiting…so I really think of them as sculptures, but I’ve really gone back to my baskets. But I’m always pushing the edge.

Putting these materials together took a lot of experimentation on Nanette’s part, but that’s always been important part of her life as an artist. After graduating from San Diego State University, she studied basketry on a Navajo reservation and then decided to go back for a graduate degree in three dimensional forms using the loom, basketry, wire and paper. After graduate school, she drove across country to New York and created one of her first wall pieces as a tribute to the Niagara River.

I did an art residency in Art Park by the Niagara River. When I was there it was very polluted. I did a very large piece, I infused it with healing energy and the whole idea was that not only would it be healing for the person who bought it but for the river too, sending healing energy,” says Nannette.

Making art for Nanette is like meditation. The repetitive nature of plaiting baskets helps her weave her art and life together through all the changes that time brings.

After I make it I’ll sit down with it and let it talk to me. Things don’t always turn out the way you plan, so sometimes your materials take you for a trip, and you’re just following and doing what it tells you to do, and if you’re lucky, it’ll tell you what’s on its mind.” Nannette adds, “Shifting corners, making changes in your life is always hard and it’s hard in basketry, too.

You can watch Nanette work, tour her studio and sign up for her studio workshops October 11 and 12 as part of the Portland Open Studios Tour. You can buy Tour Guides at New Seasons, Art Media or here online.

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Listen to a podcast of the interview with Portland Open Studios artist Brenda Boylan at Mike Turner’s Infopod website.

Brenda is a pastel artist and has participated in Portland Open Studios for many years. Read her blog on pastel work at Dusty Fingers.

Below, Lopez Evening, by Brenda Boylan.

By Susan Gallacher-Turner

Jan’s interest in art started in her childhood at the family dinner table where ethnic dishes were served up with side discussions of the culture, textiles and art from around the world. She remembers delicious curry dishes, her mother’s beautiful sari, and a home filled with exotic smells, artifacts and furniture. These early influences are the building blocks for her kimono inspired prints and organic ceramic vessels that you can see as part of Portland Open Studios Tour.

Jan explains, “It was all based on food, their way of showing us the culture was through the food, beautiful fabrics, clothing, some of the customs. They would make these curry dinners and that’s how we celebrated these cultures. And my parents would go to auction houses and they collected a lot of their furniture, some of it was Asian table fabrics and kimonos. And my grandparents house, too, was filled with antiques.

It was her artistic grandmother who fueled Jan’s early art training teaching her to sew, knit, paint and make wreaths. From there Jan took Saturday art classes at Marylhurst and the Portland Art Museum, moving on to college at the Museum Art School, where she majored in ceramic sculpture and minored in printmaking. These two diverse media are still a major focus for her today.

Whether it’s one of Jan’s Asian-inspired kimono prints or her organic, ceramic vessels, there’s always a combination of line, color, texture and form. According to Jan, “Along with my training as a sculptor, I was also a calligrapher. Calligraphy, sculpture, and printmaking, those three are my favorite things.” And although these might seem like very different media, to Jan, they both involve building.

Says Jan, “To me they’re very close. Printmaking is more immediate, you have an idea and try it. With ceramics, you throw it, bisque it, glaze, fire it so I’ve got two weeks before I can see it. So it’s not as immediate but I do love making it.

With the vessels, Jan starts with a formal shape adding calligraphic marks in the clay, much like printing, then makes tiny, organic, sculptural shapes to form the lids.

To build a print, Jan might start by taking a picture of a swirl image in the road. Using that as a base to make a copper plate, she adds bits of her hand-painted Sumi papers, stamps from garage sale envelopes or ethnic ceremonial papers piecing together her image. Then, she might cut the plate into smaller, more abstract shapes before she runs it through her printing press.

Jan explains, “I like that building. I can take the plate and cut it up, glue stuff down, add whatever and build this thing. Then I ink it and it has all this texture.

While the mediums might be very different, the connections in Jan’s art and life are easy to see when you tour her home with its multi-ethnic furniture, sculpture and garden tea-house. Sitting in the tea house, Jan reflected on how her passion for art led her to teaching which in turn, taught her even more.

Below, the tea house.

Teaching those students was where my learning began, because they taught me so much. They taught me patience. How to really think about what I’m really doing because I had to verbalize it for them. And they would share an idea and I would think, gosh, I never would have thought about it that way. It’s another point of view and another vision that you get in that time and space to be part of…I can’t think of any other profession that you get to do that in, to join that young person in that part of their creativity,” Jan said.

As a Fulbright scholar, Jan went to Japan five years ago and taught lessons in Italic calligraphy, bookbinding and drawing. Now retired, she was a beloved art teacher for many years at Arts & Communication and Southridge High School in Beaverton.

You can visit Jan and see her at work in her studio October 11 & 12 as part of the Portland Open Studios Tour. You can also listen to a podcast of this interview with Jan (and others) at www.infopods.org.

Portland Open Studios Tour Guides with tickets are available at Art Media, New Seasons and other outlets listed on the Portland Open Studios website.