who knows where the time goes

it's been a while since I've published anything here , and the field of the year has been very thoroughly harrowed in the interim, beginning with the passing of my mother in February. 

not something I am ready to write about yet. so I will not.

in May I travelled to Vancouver, to give my first two-week class at the Maiwa School of Textiles. 

the magical view from the air as you fly into San Francisco

as Qantas only flies there direct in midwinter and midsummer, I had to travel via the United States.
in the past , my arrival at SFO has been met with a cheery "welcome to the United States".

not this time.

I was accused of lying about my tattoos. seriously??? I have a tattoo of a maple leaf on my wrist. it was drawn by one of my daughters, based on a leaf gathered from under the beautiful Acer palmatum atropurpureum that lives at the foot of the Vallejo Steps in San Francisco. the officer asked me what the tattoo was, I responded with "it's a maple leaf, sir". whereupon he informed me that he was a patriot from Ohio who had seen plenty of maples in his time and that it was his duty to keep undesirable elements out of his country. and that he did not like to be lied to.

it IS a maple leaf.
(and my hands were squeaky clean at the time)

the officer continued to insist that it was a marijuana leaf (which, even if true, should not have mattered as Cannabis sativa is legal in California). he wanted the names and addresses of my friends in the US. he demanded to know if I were an activist or an environmentalist. I responded truthfully that I was a tree planter, then he sent me for "secondary questioning".  hours later I was released into the USA. if you want to know what those hours were like, read Mem Fox's account of her experience. it's quite similar, except that in my case there was no apology (and I haven't given any books to Prince George).

curiously, everyone else in that detention room was brown, too.

I wasn't even wearing my amulets, but clearly I look like someone to be suspicious of. 

happily I had had the foresight to book my onward flight to Canada for the following day, otherwise I might well have missed my connection. but as a result of this experience, and given the current administration's attitude to aliens sharing their skills in the USA (although apparently it's ok to have your hats, handbags and suits made in China and Mexico) I shall not be teaching there again for the foreseeable future which is ironic, given the number of people who have set up small businesses churning out ecoprint textiles, teaching workshops and e-courses; none of which seemed to be around before Eco Colour was published. I like to think that I'm actually making a useful contribution and doing a bit of good around the whirled. I could just be misguided.

enough of the sad ranting. I'll miss all y'all.

now back to the story.

having two blocks of five days to work together, with a weekend off in between was just marvellous. I was there to teach feltmaking, of the kind that doesn't require truckloads of soap (but DOES need a bit of stitching and is a splendid means of using up little scraps of cloth. I call it shibusa), but there was of course lots of other dyeing on the side, including in a deliciously fragrant banana-based indigo vat. 

beautiful student work, printing on (unscoured) linen

the students worked like beavers.

on my weekend off I was spirited away to the most gorgeous island , where I slept in a dreamtent

we all found it a wrench to part company on the last day.
happily I've been invited back for next year and the class is in June, so I can fly directly to Vancouver from Sydney on my favourite airline.

after a few other adventures, early June found me in the Netherlands, where I was included in the exhibition 'Earth Matters' at the Textile Museum in Tilburg. 

at the opening I met Christina Kim (whose work appears below). I'd visited her Dosa space in Los Angeles a few years ago going to cross paths, but she'd been out of town at the time. I also met Birgitta deVos and acquired a copy of her gorgeous new book. 

I am so very grateful to Iris de Voogd for organising a workshop at such short notice, which meant that my airfare was covered and I could attend the exhibition opening. also I had a chance to catch up with lots of people I had not seen for a long time, some (Geesje and Dorie) not since 2011.  Marijke (who joined me in Newburgh a few years ago) was there as well, and her daughter Caitlin (she's the one who led the singing in the riverbed) has woven me the most glorious scarf and given me permission to dye it! do stay tuned for developments on that front, we are now treating it as a collaboration!

anyways Iris and I had been having an extended email conversation for around two years about the possibility of having a class there and May 2018 had already been inked into place...but she enthusiastically leapt into action a whole 11 months earlier. (and even let me play her saxophone).

Dorie van Dijk's enormous studio amidst the flowerhouses is a fabulous place for a class. I'm already dreaming of a return, and Marijke has been kindly murmuring about organising something in her region too. 

the seeds are planted, we'll see what blooms.

one of my lovely students, Dajana Heremic, with her delicious apron

the ridiculously bright #nofilter colour from Italian eucalyptus, a surprise delivery at Dorie's studio.

another gem

good heavens.

look at the date. it's been over a month this time.

that's because i have been away here

making food influenced by the landscape

and also some big splashes

and revelling in the light

now i am home where between storms and howling winds i am momentarily taking a break from trying to discover why (although the sky has been falling) we have no water in the tanks; to deal with the emails i haven't tackled on my batphone while i was away from the magical all-surrounding wifi.

and in the inbox i found this ::

1. How would you describe your work? 2. What is the best piece of advice you have ever been given? 3. When do you know/decide when a piece of artwork is finished? 4. How do you organise your time, what is a typical day? 5. What kind of environment do you work in? 6. In what way does the natural environment inspire you? 7. What advice would you given aspiring textile artist about to embark on their career? 8. Which artists inspire you, and why? 9. What books have you found useful and would recommend? 10. What would you say is the best natural mordent when eco printing on cotton? 11. I am looking to dye recycle fabrics/clothing what advise do you have?

sic. as in, i have pasted it here, unedited.

i did attempt to write back politely, if briefly...but now, fuelled by caffeine and cold weather and the rage induced by a nameless person stealing a pile of wood (cut laboriously with a chainsaw by my daughter) before it could be gathered in 

i am going to give it a proper go.

1. How would you describe your work? 

 this is copied and pasted from my website. i think it's pretty clear.

i use ecologically sustainable contact print processes from plants and found objects together with walking, drawing, assemblage, mending, stitch and text as a means of mapping country, recoding and recording responses to landscape - working with cloth, paper, stone, windfall biological material, water, minerals, bones, the discarded artefacts and hard detritus of human habitation, the local weed burden. the work has been described as using " the earth as the printing plate and time as the press"

2. What is the best piece of advice you have ever been given?
 if i may quote Maggie Smith's character from the Second Best Marigold Hotel
"never to give any"
 

3. When do you know/decide when a piece of artwork is finished? 

 if i had the answer to that i would have become a successful painter

instead of working into my paintings until they became mud and then giving up in disgust

4. How do you organise your time, what is a typical day? 

i wake, gently, in the morning and the housekeeper brings me a cup of tea. the resident masseur rubs my toes with fragrant oils. i luxuriate in a hot bath for a few hours, dress in some romantic and frivolous outfit, pick roses until it's time for lunch and then loll on the porch swing in a pile of cushions working my way through a pile of books. later i put on a freshly starched apron and totter into the kitchen to create a three course meal made from food gathered in my walled garden. 

(much later someone else does the dishes)

5. What kind of environment do you work in? 

everything is perfectly organised and easily found. there is not a speck of dust, no cats have played wildly with my best silk threads and nobody has peed where they should not. the fridge in the studio magically restocks itself, a pile of fresh dry kindling is always to hand and the interns are up before dawn sorting windfall leaves into neat piles, arranged by colour and size.

6. In what way does the natural environment inspire you? 

in every way. 

(today it is mostly inspiring me to go back to bed where it is warm.)

7. What advice would you given aspiring textile artist about to embark on their career? 

 think twice about supplying work on consignment to boutiques in glamorous locations that expect you to post it to them free of any charges, then put 250% commission on the work and when it finally sells, pay you at their leisure up to 12 months later. consider becoming a lawyer. or a gardener. it pays better.

8. Which artists inspire you, and why? 

those who make a living from their work.

9. What books have you found useful and would recommend? 

'Eco Colour' and 'Second Skin'. theOxford English Dictionary. also 'Holidays in Hell' by P.J O'Rourke and pretty much anything by Rebecca Solnit

 10. What would you say is the best natural mordent when eco printing on cotton? 

'mordent' is a musical ornament, a little wiggly thing that indicates the way a note should be played. i think i would find it tricky to use in a dye process 

11. I am looking to dye recycle fabrics/clothing what advise do you have?

hmm. as i understand it that is an acronym for a department in the US Homeland Security division.

if it's advice you're after, then here goes ::

know the plants you are using, and their properties

do not be seduced by toxic adjunct mordants

think carefully about wild harvest and whether it's worth risking a plant population just because you want pink. or some other colour.

do not steal all of the red/gold/purple leaves from underneath trees in public parks in the autumn/fall. they are there for everyone to enjoy (and usually taking leaf matter from a Botanic Garden is illegal anyway)

develop your own style. 

another gem

good heavens.

look at the date. it's been over a month this time.

that's because i have been away here

making food influenced by the landscape

and also some big splashes

and revelling in the light

now i am home where between storms and howling winds i am momentarily taking a break from trying to discover why (although the sky has been falling) we have no water in the tanks to deal with the emails i haven't tackled on my batphone while i was away from the magical surrounding wifi.

and in the inbox i found this ::

1. How would you describe your work? 2. What is the best piece of advice you have ever been given? 3. When do you know/decide when a piece of artwork is finished? 4. How do you organise your time, what is a typical day? 5. What kind of environment do you work in? 6. In what way does the natural environment inspire you? 7. What advice would you given aspiring textile artist about to embark on their career? 8. Which artists inspire you, and why? 9. What books have you found useful and would recommend? 10. What would you say is the best natural mordent when eco printing on cotton? 11. I am looking to dye recycle fabrics/clothing what advise do you have?

sic. as in, i have pasted it here, unedited.

i did attempt to write back politely, if briefly...but now, fuelled by caffeine and cold weather and the rage induced by a nameless person stealing a pile of wood (cut laboriously with a chainsaw by my daughter) before it could be gathered in 

i am going to give it a proper go.

1. How would you describe your work? 

 this is copied and pasted from my website. i think it's pretty clear.

i use ecologically sustainable contact print processes from plants and found objects together with walking, drawing, assemblage, mending, stitch and text as a means of mapping country, recoding and recording responses to landscape - working with cloth, paper, stone, windfall biological material, water, minerals, bones, the discarded artefacts and hard detritus of human habitation, the local weed burden. the work has been described as using " the earth as the printing plate and time as the press"

2. What is the best piece of advice you have ever been given?
 if i may quote Maggie Smith's character from the Second Best Marigold Hotel
"never to give any"
 

3. When do you know/decide when a piece of artwork is finished? 

 if i had the answer to that i would have become a successful painter

instead of working into my paintings until they became mud and then giving up in disgust

4. How do you organise your time, what is a typical day? 

i wake, gently, in the morning and the housekeeper brings me a cup of tea. the resident masseur rubs my toes with fragrant oils. i luxuriate in a hot bath for a few hours, dress in some romantic and frivolous outfit, pick roses until it's time for lunch and then loll on the porch swing in a pile of cushions working my way through a pile of books. later i put on a freshly starched apron and totter into the kitchen to create a three course meal made from food gathered in my walled garden. 

(much later someone else does the dishes)

5. What kind of environment do you work in? 

everything is perfectly organised and easily found. there is not a speck of dust, no cats have played wildly with my best silk threads and nobody has peed where they should not. the fridge in the studio magically restocks itself, a pile of fresh dry kindling is always to hand and the interns are up before dawn sorting windfall leaves into neat piles, arranged by colour and size.

6. In what way does the natural environment inspire you? 

in every way. 

(today it is mostly inspiring me to go back to bed where it is warm.)

7. What advice would you given aspiring textile artist about to embark on their career? 

 think twice about supplying work on commission to boutiques in glamorous locations that expect you to post it to them free of any charges, then put 250% on the work and when it finally sells, pay you at their leisure up to 12 months later. consider becoming a lawyer. or a gardener. it pays better.

8. Which artists inspire you, and why? 

those who make a living from their work.

9. What books have you found useful and would recommend? 

'Eco Colour' and 'Second Skin'. theOxford English Dictionary. also 'Holidays in Hell' by P.J O'Rourke and pretty much anything by Rebecca Solnit

 10. What would you say is the best natural mordent when eco printing on cotton? 

'mordent' is a musical ornament, a little wiggly thing that indicates the way a note should be played. i think i would find it tricky to use in a dye process 

11. I am looking to dye recycle fabrics/clothing what advise do you have?

hmm. as i understand it that is an acronym for a department in the US Homeland Security division.

if it's advice you're after, then here goes ::

know the plants you are using, and their properties

do not be seduced by toxic adjunct mordants

think carefully about wild harvest and whether it's worth risking a plant population just because you want pink. or some other colour.

do not steal all of the red/gold/purple leaves from underneath trees in public parks in the autumn/fall. they are there for everyone to enjoy (and usually taking leaf matter from a Botanic Garden is illegal anyway)

develop your own style. 

sorry, but it seems i'm beyond help.

correspondence sometimes comes in drifts, like snow

there's the seasonal influx of requests for assistance with school studies.
i try to respond kindly, even when the questions seem silly.

"why do you do art?" is a frequent flyer.
sometimes it is temping to write "because i am otherwise unemployable"
though it's pretty close to the truth.

i don't mind answering a well thought-out selection of questions, but only if you can't find the answers by googling.

towards the end of the northern college year there's generally a bunch of emails from people who would like to come and stay to "assist me in the studio" in return for one-on-one teaching.
a working holiday in the sunny south.

from my point of view this means i would be fully responsible for a person i have never met before, providing meals, a bed, entertainment and transport so that i can explain to them exactly how i want a bundle put together, or a dress stitched, or?

it's far less stressful just to do the work myself. besides, i enjoy what i do. i love the spontaneity that is possible when i am alone (well, with only canine and feline company) wielding scissors and needles and dancing in the leaflitter that carpets the floor of my studio.

and perhaps it is a psychological disability but i feel utter and overwhelming claustrophobia at the mere thought of having to share a month or more of days (and evenings) with another adult whom i may not have actually met prior to their arrival.

in recent years i have been finding increasingly beautiful areas in which to hold workshops and as a consequence the volume of inquiries from people wanting to take a gratis class in return for stoking the fires and gathering plant matter has escalated. i could have filled the upcoming class at Scott's Head entirely with such volunteers :: which could have been hilarious...
a dozen people all stoking the fire and gathering leaves, which would probably look like a splendid pagan ritual but won't pay the electricity bill.

there have been suggestions that i should increase workshop fees so that i can offer scholarship places. i don't see how that would be at all fair to paying participants. it's not going to happen.

and then there are the truly cheeky requests from people who live close to a workshop location and "just want to drop in for a day to see what it's all about". hmm.

some tell me they left well-paid positions in order to pursue their dream career. i applaud their bravery but that is their choice, and not my responsibility. i was an unemployed sole parent (of three) at the time that i returned to plant dyeing. it took me over fifteen years to achieve financial independence and be solely supported by this work. i suppose it's just as well i didn't have a comfy job because i'm not that brave and i might have clung to it and my life would have turned out awfully dull as a result.

but the long and the short of it is, please don't ask me if you can come and stay with me so that i can feed you and house you and teach you everything i know.

because the answer will be

thank you so much for your kind offer, 
but i regret i cannot accept.

on the other hand, if you sign up for a workshop, i will do my best to share my knowledge and skills. because that's my job. and my life. and i love doing it.

apparently pandas and penguins rule the interwebs

 dear readers

yesterday i received the email below. i was very tempted to write back but didn't want my inbox to be filled with advertisements for Russian brides or penis enlargers and so i am writing back here on my blog instead, where it is easier to delete any comments posting links to the above. my responses are tucked into the text in a different font.

Hello Indiaflint.com Team,

Hope you are doing well.
  

well in the sense of health or in the sense of a well dug into the ground that fills with water? these few weeks at home have felt like the latter. though it is dust dry where i live, spending quiet time at home has been deeply replenishing, like an empty well filling with water. so yes, i suppose i must be "doing well". perhaps that can become the new phrase for replenishment. what are you doing today? i'm doing well.

We would like to have a discussion with you regarding the web promotion strategy for your website Indiaflint.com. We wish to work out a proposal to strengthen the online presence of your website, via a strategically planned web promotion campaign. In today’s online era, you should be focusing on the new revolutionary ways of generating traffic (and subsequently, leads).

there's a revolution? i don't think my grandmother would approve. she saw too many of them.

We are curious to know if you are aware that a few issues bugging your website. Sorting out these will help you get the best returns out of your website.

bugs? not bedbugs, i trust? no. i misread. it's the issues that are doing the bugging. see answer to point 3

1. Your website seems to be attracting traffic, but this traffic is almost stagnant and limited, which affects potential sales as you move forward.  

"move forward". such a politburo phrase.

2. Your website doesn’t feature in Google's first search page for some of the major keywords in your niche, which affects visibility.

it doesn't? will the sky fall? must warn the chickens.

3. Your website has been diagnosed with On-Page and On-Site issues, which affects the ranking.

ah yes. issues. Mrs Poo (one of our cats) has issues. at least my website doesn't try to pee in the pantry

4. Your back links profile is not efficient enough to help your search engine visibility.

and to think other advice i've received is "don't have too many links, they take people away from your site". 

5. Your website is currently not being properly promoted online according to Google’s new guidelines (after latest Google Panda & Penguin update), which is affecting your marketing strategy and goals.

there are Pandas and Penguins writing guidelines? Darwin might be pleased.

6. Your presence in social media platform is minimal. This is depriving you of a huge market of prospective referral clients.

that would explain why i have been such a wallflower at the weekly village dance. 
meh. 
this year i will dance regardless, both on and off platforms. and what is a referral client? isn't that what you become when your doctor has been advised that
 the specialist needs to service his Rolls Royce?

7. Your website may penalized by Google.

penalized? will it be put in the naughty box like the boys who don't play nice in ice hockey?

8. Social media profiles are not updated regularly.

holy guacamole Batboy. i only joined Farcebook because way back in 2011 Nancy Zeller said nobody would sign up for my class at Longridge Farm if i didn't have a profile. turns out that none of the people who signed up came via FB, all of them came via my apparently ineffectual website. update, schmupdate.

9. Low number of internal and external quality links present on your website.

dear me.

10. Not updating fresh contents of your website and blogs as per the latest Google guideline (Penguin & Panda).

the wildlife again. 
i would have thought the pandas would be too busy chewing on bamboo or enjoying "pleasant biological enounters"     v  e  r  y     s  l  o  w  l  y   to bother with all this. and how do the penguins manage keyboards with those tiny winglets? they can't even scratch their noses. 

And many more...

We expert in running promotional online marketing campaign for websites. We have a host of ethical services and techniques, which you can utilize to improve your website's performance.

if you were experts at English grammar it might give me more confidence in your other skills.

We would love to hear from you regarding any questions you might have. Please let us know if you wish to move further, so that we can schedule a meeting (tomorrow onwards) at a time convenient to you, without disturbing your busy schedule.

schedule a meeting, eh? i don't like your chances. especially not without disturbing my busy schedule of doing well. or just burying my head in the sand.

Best Regards,

Bxxxxxxe | Sales Executive

James Veitch replied to spam email. it's hilarious.

reflecting on deep things

i had an email this morning from someone who required to know whether my books were printed on recycled stock.
she wrote :

"I am curious. Are your books printed on recycled paper and with other eco-friendly materials? I have Eco Colour but borrowed Second Skin from the library. They look like they were expensive productions. Please tell me they are produced with recycled paper and earth friendly inks and materials."

i wrote back and explained that the Australian edition of Eco Colour and the first edition of Second Skin were indeed printed on recycled stock and with vegetable inks but that the United States edition of Eco Colour wasn't [it was out of my control along with the advertising that appeared in the back of the book much to my surprise : for the record i do not endorse any of the advertised products] and that the second edition of Second Skin wasn't either [due to management changes at Murdoch Books]

but afterward i wondered whether she was typing her message on a computer made from recycled parts and using only earth-friendly energy? hmm.

and is there a reason why a book made from recycled paper should not look sumptuous?

that would imply that those of us who choose to wear environmentally 'friendly' clothing should perhaps dress in sackcloth so that we don't look too elegant. [admittedly my family too frequently observes that i look as if i am wearing a sack but that is another matter. entirely.]

the Blurb books are not printed on recycled stock. nor are the inks made from plants. i accept this is a drawback. on the bright side, though, the "print on demand" platform means that there will not be warehouses full of remaindered books rotting away because nobody wants them.

i've had that problem before, having overestimated the catalogue numbers for the exhibition 'watermarks' back in 2008. fortunately they were printed on recycled stock with vegetable inks so the box of extras [which nobody wanted at the time] made environmentally friendly [if expensive] weed suppressants in the garden.

i was hoping that 'shapeshifter', the handbook about clothing that i am preparing to publish in the Australian spring could be printed using as environmentally responsible means as possible.
that it would be a limited edition available by direct subscription, even if that meant i had to package them all personally [unlike Blurb which has printing houses dotted around the whirled and does all the packaging and mailing]

i'm still debating whether i will be able to fund it myself or whether to dive into something like Kickstarter. or whether i should go that road at all.

the cold hard fact is that though it's really exciting for me each time some kindly person buys a book, total sales [of all titles] through Blurb so far this month number only 352 and 30% of those were 'e' books or PDFs.  in order to keep the unit cost reasonable [so that with postage it is affordable as well as returning something on the investment of my time] i would need to have at least 1000 printed. and there wouldn't be an 'e' version. the thought of investing it what may become yet another pile of unwanted weed suppressant is somewhat dispiriting, so in the interests of market research...

what are your thoughts, oh gentle readers?

make a huge financial investment in eco-sustainable printing the hope of breaking even?

or stick with Blurb?

neither way is perfect. neither am i. but as i wrote to the correspondent above, i'm doing the best i can.



+

don't forget folks, those of you who have bought the Bundle Book still have until August 3 to enter that lucky dip for one of three ecoprint tsunobukuro bags, details
 here

 PS this dam was constructed by bulldozing legend Sam White for my father back in 1997. the bulldozer is not, in all honesty, and environmentally friendly tool, but in the hands of those above it created a very beautiful place for quiet reflection...even if that goat insists on coming along for a walk.

PayPal SchmayPal

after a phone call, six emails and hours spent searching for documents, copying them and uploading them to PayPal i am apparently still under suspicion. even though my account page says i have complied.

perhaps they think my whirled-wandering involves training people in nefarious activities [note the bit about "politically exposed persons". i rarely expose myself, preferring to dress [as my children put it] in things that resemble small Bedouin tents and if i did expose myself, it would not be to politicians. so there.

or maybe they want blood? DNA? perhaps my grandmother's left index finger? that last one could be tricky, she was buried in 1987. and i'm not sure i want to disturb her slumbers. and my other grandmother was cremated and later sprinkled around the farm dam. maybe i could scrape up a soil sample?

clearly i was not cut out to be a shopkeeper and it is just as well this has happened now, and not when i eventually launch the promised limited edition publication as it would have made a right dog's breakfast of the distribution process. [thank you, those of you who have suggested other means of accepting payments, i am exploring possibilities]

meanwhile i'm going back to the sewing room. it's nice and quiet there.

wishing merry everything, good health, abundance and happiness to y'all....and if anyone still wants to buy anything i have made [via the interpixies, that is] FarFetch is presently your only option.

the trouble with my name

i have had trouble with my name from time to time
especially when it comes to email
which is why i changed it to appaloosa rather than using
mail AT indiaflint DOT com

because things with india in them do bounce back
and people like spotty ponies better, it seems
i suppose it could be worse.
nigeria, for example

but this morning's advice from PayPal
that they were investigating me for money-laundering
due to the sudden inflow of $ [thank you, those kind people who opted to purchase a scarf!]
took the cake

so
today i am posting the scarves for those kind and quick people who paid before they closed the gate
[though apparently i have to await an investigation before PayPal will pay me]
but any further interest will have to rest on ice

and given today's weather forecast promises 43 degrees C
...that's  109.4    on the scale of F major
ice may be a good thing.

how to run a workshop

every so often i get an email asking for advice on how to run dyeing workshops. sometimes people will ask me quite specifically [and i may say, audaciously] for teaching plans or class outlines. often i wonder whether they are writing to the right person, especially if they refer to dying workshops. i do not feel competent to instruct anyone about that.

sometimes they tell me that they've been to a dye class somewhere [not necessarily with me, i might add] and now they want to teach too; or that they "have the book" and are "ready to teach" but are wondering where to begin in terms of running a workshop.


in general i respond as follows :


dear 'X'
 
I have been working on developing my workshops over some thirty or so years and I'm beginning to think they are at last moving in the right direction.

But what works for me may not necessarily work for you. My teaching is founded in my history, informed by research and practice, enriched by continual re-examination, research and further study.

Each of us finds our own way into our own reality. The one sure thing I can tell you is that your work will be a clear reflection of you.  

go well

India

 

today as i was happily bundling away and stitching on my blue cloth while waiting for the billy full of bundles to boil i found myself pondering the subject of teaching in more depth [one of the great benefits of an artist residency is being given the gift of time, not just to DO, but to THINK] and so i made a few notes that i thought might be worth sharing

the first classes i taught were at remote communities out along the East-West railway line that crosses the middle of Australia. at the time i was employed by the Arts Council of South Australia [now a mere shadow of its former self] as their exhibitions officer.

together with South Australian artist Yasmin Grass and R.I.C.E. i travelled out on the Tea and Sugar train with an exhibition of colourful clothing set up in one end of an old railway carriage and a lino-printing workshop at the other. at night we unrolled sleeping bags and slept on the floor of the show. that was back in the 80s. sadly the Tea and Sugar doesn't run any more.

we taught at places like Tarcoola, Cook and Barton. at the first stop, Tarcoola, there was a one-teacher school and as i recall the teacher disappeared off to the pub after unloading all of his 15 students on to us. i guess he didn't get many days off.  it was "seat of the pants" flying and a good learning experience all round.

at the beginning of the day all i really knew was "more about lino printing than any of the students". by the end of the day i was beginning to get a grip on crowd management, had learned to make sure that we would have a first aid kit next time [cellophane tape and toilet tissue aren't the best emergency response for cut fingers] and had developed a mildly ridiculous comedy routine that helped get the clean-up done at the end. nobody bled to death, everyone had a printed T-shirt they were happy with and we had managed to foil the class clown who was busy carving an expletive into a piece of lino with the intent of inking it and placing it underneath fellow students as they were about to sit down. it was a creative idea but he'd forgotten to reverse the letters so it would have looked pretty silly anyways.

but back to the subject...how to run a workshop

know your subject inside out. that means understanding things yourself before you attmept to present them to others. in the case of dyeing with plants it means being able to identify the plants you plan to work with, knowing their properties and understanding the chemistry.
taking a few classes or reading a book does not make you an expert. practice and research and study will help.

prepare. i have a good friend whose motto is "luck is for the unprepared". i find it takes me at least a day of prep for each day of teaching, and a good bit of time spent after class thinking about what went well, what could have been improved and what really needs to change before the next time 

take care of your students and help them to learn how to do things safely and sensibly.

repeat things from time to time [we learn to remember by repetition]

be a student yourself. i take at least two classes each year as a student. they may not necessarily be classes that are obviously related to WHAT i teach, but they help me to learn HOW to teach in a more engaged [and i hope engaging] and effective way

if you want to use something in your teaching that you've learned from someone else's class, ask their permission first. and when you do share it with your students, acknowledge the person you learned the skill from. #

listen to your students. you can learn a lot from them, not only interesting information but about how they understand [or don't understand] things

keep on reading, researching, experimenting and learning in your chosen field.

and keep on asking questions.

the truth is you can never know too much about your subject. and the last word [for now] goes to Bill Shakespeare.

to thine own self be true.  

and while we're talking about workshops...there's a three day class with me near a beach on the Otago coast on new Zealand's beautiful south island at the end of April next year that still has places...in fact, so many places that they're thinking about pulling the plug on it. if enough people sign up in the next few weeks it will go ahead, otherwise i'll be spending more time at home in the studio...polishing up my skills!

# i shall be forever grateful to Nalda Searles [who taught me how to make string] and to Sandra Brownlee [who kindly let me borrow her idea of a "clothesline talk"] ... by combining the two ideas i've derived a useful and amusing means of presenting information to students and keeping it available to them for the duration of the class

ai = love

i worked all day saturday
and then on sunday
i thought
i will just pop in and do a few stitches
and then i will go out and wander somewhere
take a look at Portland

the Dogs had other plans
when i looked outside
it looked like this

that window is my studio

i think it may be
that i am in love with blue
it is a colour that takes me to a quite specific place and time
James Tate wrote beautifully about it
[click on the audio icon to hear the poem being read aloud]
there's a good reason why the Japanese word for blue is the same as the Japanese word for love 

or so i have been told.

today i was thinking about our blue planet
and how the maps we have available are always too small
especially for someone has left footprints on four of the seven continents [gazing at Egypt from the deck of a boat on the Suez Canal as a toddler sadly doesn't count as stepping in Africa]; who keeps a bicycle in New Orleans, a cat in South Australia, her heart in San Francisco and "einen Koffer in Berlin"       ##
 
so
i played around in Photoshop
and made a map that is really useful for planning trips
because
it allows you to compare distance easily with a piece of string [well, except for the curly bits around the poles] and goodness me, what a lot of blue!!!!

got any good maps you'd care to share?



## i plant trees to make up for all this wanton wandering...

a blessing. of sorts.

let me tell you a secret

deep inside

i am a shy

and

somewhat solitary bear,

it takes courage for me to step into the spotlight
i'd rather stay home than go to parties
[close friends have told me i am socially inept]
and i tend to take things quite literally

i tend to be forthright

i have a strong sense of justice and

i WILL speak out if i see something that is not right

it is how i came off the assembly line, reinforced by how i was raised.

if i kindly advise someone that it would be better

in the interests of [their] potential longevity

not to be consuming food in an atmosphere redolent of toxic vapours

i am doing that out of concern

and from what i perceive to be a duty of care.
in short

i mean well.

so if you then tell me i have "crossed a line" and go on to demand whether i realise that by coming to teach i have "inconvenienced others who normally use the space" and snicker derisively when my Precious rises sponstaneously to my defence

then all i can say is

"Bless you and be Happy"

 i shall not darken your doors again.

poor fellow my country

i'm using the title of Xavier Herbert's significant contribution for good reason. 

"This book is the decisive story of how in those vital years, Australia threw away her chance of becoming a true commonwealth. The dream of Australia Felix, The Happy South Land.The book will long remain in the memory and is undoubtedly Herbert's supreme contribution to Australian literature."

Australia has now been handed to a party of  environmental destructivists.

the Liberal Party, led by someone whose avowed mission it is to cut down the last of the tall trees we have left, is going to be in charge of our sinking ship.

Australia is in deep environmental trouble. each bushfire that burns thousands of acres of forest contributes to reductions in rainfall. reduced leaves, reduced transpiration, reduced clouds, reduced rainfall

and when rainfall reduces, then regeneration does too. or we get massive crops of woody weeds instead of trees. so with the countryside already under threat [and remember we are the driest continent]

and with all the raving about reducing carbon emissions - wouldn't it make sense to leave the last tall trees [which are basically carbon + water + a few other things] standing to get on with the business of converting carbon dioxide to oxygen

rather than being pulped to provide newsprint and toilet paper. 

poor fellow, my country. 

please put your tea down before you read this

or you might have a nasty accident.

my lovely agent Jen alerted me to this

and after i mopped up the spilled tea

i thought i'd share the giggle with my gentle readers

do read the fine print, it's so funny!

   

in the words of the immortal Darryl Kerrigan

"tell him he's dreaming"

now had i been a business person

i could have been flogging ecoprint franchises...

just think of the forests i could save

if i were able to earn sums like that

and think of the headaches i would have had

doing my tax.

thanking goodness for small mercies

and Amazon for the laugh

and

if you're looking a copy of Second Skin

it's being reprinted and on the way

+

the Book Depository will let you know when it's in.