Showing posts with label clothing. Show all posts
Showing posts with label clothing. Show all posts

Jun 26, 2018

Cabled Afghan

There's a brief moment of overwhelm when starting a large project, but as soon as I remember my hobby motto, "No Hurry," I settle down. It's all about the knit and purl of it anyway, one stitch at a time. No deadlines, no money involved, just me, the knit and purl and a beautiful piece made at the end of a long off and on meditation.

My Goddaughter picked out the yarn. Her colors are bold and the yarn is washable worsted weight wool blend, very easy on the hands and skin while knitting.

These cables are based on ten stitches and ten rows and the afghan is built out of 60 stitch panels of each of the four colors. With any luck, this afghan will be about 54 inches by 60 inches, enough to cover two snuggly people.




Jan 1, 2018

Welcome

Welcome to Ginna Gordon 2018
the Diary of a Creative
300-500 Word Articles
Regarding Books, Ideas, Projects, Recipes, Quotes & Pix

My audience:
Boomers, authors, readers, crafters, cooks

My topics:
Books
Writing
GB’s Love Notes
Knitting
Crafts
Food/Recipes
Studios

My 2018 Goals:
Sharing ideas/recipes
Lucky Valley Press

I write about
• scaling down from an 800 square foot space to a basket of knitting and what that feels like after 50 years of large studio spaces wherever I have lived. I share the experience, physically, mentally and spiritually, and find out what other artists do at a certain age when it is no longer appropriate to spin in all directions creating in ten different mediums at once.
• being a writer, about re-writing when I thought the book was finished, about that process, which in the case of Humming, is months and months long: the fallow time of writing, when the characters are taking naps and your mind is filled with the many ways in which you could take the story instead of where you were going.
 • what it feels like to be doing the best work of my lifetime, about working with David, about creating in general, about being a creative, about being created.
• I’ll post recipes, knitting projects, stories, quotes, anecdotes about a client, book covers.
My blog wraps my creativity up in a package and shares it with the world.

Dec 20, 2017

Studio #12a - The Cottage

The Asian Fusion Collection, installed at Valley Girls Gallery (now the Carmel Valley Art Association) in 2005, and the same little red table in our living room today, under a Melissa Lofton painting of Big Sur and holding stacks of knitted squares about to be sewn into a lap robe.











Dec 17, 2017

Studio #11 - Above the Market

The studio above Carmel Valley Market: 800 square feet with two big rooms and the only unit in the building with its own bathroom.

Others more transient that I lived in a couple of the units: the red-headed, balloon-blowing clown and his wife lived behind their bike shop on the first floor facing the alley, a down-on-his-luck poet slept in sawdust in the woodworker’s back room. I was next door to an alcoholic hairdresser who sometimes slept in her chair at the salon and whose every utterance and popping cork and musical accompaniment was heard clearly through the paper thin walls. I was above the deli and and the pet groomer and down the hall from the chiropractor. The aromas were a mix of bleach, pastrami, flea soap and the herbal tea blend of the week. I added varnish, glue and ceramic glaze dust to the atmosphere.

This studio saw the biggest production of dinnerware, to use in service and sell at Ginna’s Cafe, just down the block. Under and over my designs, my friend and assistant Christine layered coats and coats of color and glazes to cups and plates and bowls, wrapped each piece in newsprint and delivered them to a local kiln for firing. Not too efficient, but our customers loved the colorful stuff painted with flowers and leaves and hearts.






Erin produced beautiful paper vessels and books.





After Ginna's Cafe closed, the studio above the market was my refuge, a place to rest while figuring out what to do next. The twenty years before had been one long catering job: for gurus real and fake, shamans and showmen, for business partners, leaders and would-be leaders, for parties and weddings and overnights in the mountains, always on the move, running my own business and/or managing a staff and driving my jeeps up and down the California coast.

It was time for me, my artist self and I. My writer, who had been not-so-patiently waiting, emerged.

It was in this studio where I accidentally whiffed Marine Varnish and half killed my thyroid and created a bunch of other chronic issues I won’t focus on (but will warn you about Marine Varnish accidentally up the nose).

It is where I settled down to create my cookbook series, Honey Baby Darlin’ -  where I realized I had something to write: 50 years of stories and recipes. The series started with my three year old alter ego, Little Glory, learning about the love of cooking at her mother’s knee on her grandfather’s farm in Ohio in 1951. I saw the project like a vision of a many-colored sunrise or a multi-layered cake with surprises inside.

I met David during this studio period and this became a familiar scene: Ginna at the big oak desk facing her iMac, tapping out ideas and words and scenes into the documents that would become her next books and David on the little sofa, singing ballads and love songs while playing his guitar.



Dec 12, 2017

Studio #8 - Who has time for a studio?

The early 90s: fly fishing and camping in summers, skiing and snow play in winter. I stashed the studio in the garage, thinking I was taking some production time off. This only worked for about two weeks. Soon the guest room bed was covered with art materials and the drawing board squeezed into the tiny space by the window.

A less significant studio, but the one Sampson’s 9 year old daughter, Danielle, after a week of playing with beads and fimo dough, dubbed forevermore Camp Ginna.









Faces painted and birthday cakes made for my brother, Jess and niece, Kelly: A German Chocolate cake for him, a Faerie Land cake for he.

Tea and scones with Sampson in Glastonbury. I can see thoughts of flour, sugar and butter in those eyes, can't you? These scones may have been the beginning of a journey into the world of baking, where art studios blurred with kitchens and food became the primary artistic expression.

Dec 10, 2017

Studio #6 - Spring Mountain

“Where will you go?” My friend Sampson asked during the phone call when I told him my restless self would be on the move again.

“I don’t know,” I said. “I have my little bed-sit in LA.”

“You hate LA,” he said.

“I know, I know.”

“Come see my Paradise on the mountain,” he said.

I rolled my eyes. He didn’t see me roll my eyes, of course, but he knew.

“Stop rolling your eyes,” he said, “and come check it out. I have room.”

So I hopped a plane, which he met in San Francisco with flowers from his garden and a bottle of wine from his favorite vineyard, Folie a Deux. I wondered if he was trying to tell me something. It was too late, if he was. He was 80, I was approaching 50, we’d been the best of friends for years. Sampson invariably introduced me as his “little sister.”

Late afternoon sun glittered over the dormant Napa Valley grape vines, turning the bushy little plants of tiny mustard flowers into shmears of buttery yellow. We drove up, up the hill to the property, seven hundred acres of grapes and seven different kinds of trees. The owner, a cheese and washing machine heir, gave Sam carte blanche to design and build him a house on his little man-made lake tucked away in the forest of oaks, pine, madrone, manzanita, fur, cedar and maple.

Sam lived in a three bedroom/two bath caretaker’s cottage. After three days of friendship, conversation, good food and rest, he said, in distillation, “You need healing. Do it here.”

And so I did.

There’s not much to say about the tiny bedroom/studio on Spring Mountain: a drawing board and a folding table. One of Sam’s architect friends taught me how to make miniature houses to scale.

I made a tea house. I made earrings out of old book papers and created a bunch of largely unsell-able stuff for a couple of local gift shows.

I did heal on that mountain. How can you not? Quality air, with only the sounds of the hoot owls and coyotes at night. No more honk, honk, beep beep, hurry hurry. Just me, my own bed, my yoga mat, music, some good food, someone to talk to and a little room for my ebbing and flowing stash of art paraphernalia. It was good.





Studio on the Move

About the time I stepped into the Orchard studio in Ojai, my attentions got diverted to LA, where I signed up for the UCLA Design Program. Classes in the arts of Trompe l’oeil, Shiburi dying and surface design (and a little dip back into commercial acting) took me all over downtown LA to various teacher’s studios (and several theaters).

I divided my time between Ojai and LA for the next three years, transformed the kitchens of my two borrowed apartments into temporary art spaces (one in Santa Monica and one in the fancy shmancy apartments in Marina Del Rey) until I rented a friend’s guesthouse in Culver City, where I could prepare my artsy homework and rehearse for acting classes unseen and unheard.

Three years! What was I thinking? Compared to my life now (where I walk to the grocery store and post office and take the car out twice a week), I was in Hell - on and off the freeway all day, stuck in traffic on Highway 10 at 11pm, looking for places to park ad nauseum. Schlepping art materials and paraphernalia up stairs and into elevators and down escalators. Driving back and forth to Ojai for long weekends, busy busy, and then back to LA for three days of classes.

On those long weekends, I reveled in my Orchard, sucked in the rarified orangey air. I drew ideas in the dirt with a stick. John Denver crooned in my ear, reminding me… just reminding me.

On an eleven day “Burro Trip” in the high Sierra with the Headmaster of Thacher School and 10 other intrepid hikers, I took my drawing pad, a few pencils and a journal and kept a few notes.


I made a Bisquick Apple Cake, buried in two pie tins in the coals of a hot fire, drank out of a tin mug, led burros, hiked trails, ate Toblarone Bars that taste like Heaven on top of a mountain after an all day hike.






Better, to be out on the trail than stuck in LA traffic. GB

Dec 8, 2017

Studio #5 - The Orange Orchard

Fortunately, the 1985 Ojai Fire burned around the perimeter of the Thacher School campus. When the ashes settled Patsy, our illustrious neighbor, took me for a walk in an orange orchard. Allowing Bob, the blond Labrador, to lead the way, we discussed the fire evacuation.

I said, “We spent two nights on the ground in our sleeping bags in Souel Park. We watched the fire storms leap up and down the hills and by morning we were covered in half an inch of ashes.”

She said, “We dumped the silver in the pool and the furs in the fruit locker and packed small bags, tempted to just dive in the pool and wait the fire out, but Constance waived her stick at me and said, ‘Foolish girl!’ We spent three nights at a friend’s in Santa Barbara and two days cleaning up the silver. The ranch, thank God, is fine. Here we are.”

Pasty proclaimed, “Here we are!” as if showing me a castle, and to me, it was. If her Octogenarian mother, Constance, had been with us, she would have waved one of her sticks, which, by the way, were clear plastic canes filled with plastic flowers matching her colorful outfits. Her close pal, potter Beatrice Woods, had no canes but feather boas and bright red lipstick and, at 85, when I knew her, was an accomplished and incorrigible flirt. A pottery box she had made inspired this be-ribboned chocolate cake.

What became known simply as the Orchard was a little clearing about 20 feet in diameter in the Navel orange trees. In the middle of this clearing stood a dear little shack. I am attracted to shacks. If shacks could talk!

This little beauty leaned ever so slightly to the south, undoubtedly held together with toothpicks and kindling. Slivers of light peaked through the thin and ill-fitting bat and board walls. The screen door didn’t latch, there was rust in the tiny sink.


BUT, there was a sink! And water! And power! And two little rooms, one with a stone perch in the corner, where I put my old wood stove. My workbenches fit perfectly, nestled into each corner. The views: orange trees. The smells: oranges. The world: my little Orchard.

In this clearing in an orange orchard I created a line of sleep and casual wear, inspired by Japanese paper designs. I folded up squares of fabric, dipped it in dye, let it dry, unfolded it, ironed it out and made it into things.


By then, I was redefining my studio, less bookbinding, more arts inspired by the tools, colors and skills learned from bookbinders, so precise.

And, that same summer, I learned how to use an Apple Macintosh computer.