A scarf can be many powerful things — an object of protection or ritual, a signalling device, an expression of beauty, a statement of purpose or of resistance.
‘Sovereign/ties’ is a collection of silk scarves that serve as resonant tactile pieces of wisdom shared through the artful practice of each distinct maker.
As the world paused this year, creativity persisted. These resulting wearable art pieces are potent reminders that resound in our collective imagination, to trust our true voices and believe in the healing and transformative nature of our creative impulses.
This is a powerful and glamorous gathering. These ‘sovereign/ties’ embody a synergistic invocation of hope, imagination and resilience.
Installation and Opening
Photos by Christina Gapic
Co-Curators Interview:
Holly Venable and Marina Dempster
Director, The Lyceum Gallery
Sovereign/ties Curator and Artist in Residence
When you acquire
a Sovereign/ties
work you are:
» Collecting art from power-house women artists.
» Becoming part of this uplifting collective expression.
» Acquiring a timeless, tactile, glamorous and meaningful heirloom.
» Supporting George Brown College's Fashion Exchange (FX) who hemmed the scarves with great care.
» Raising funds for The Parkdale Community Food Bank.
George Brown College’s Fashion Exchange is a fashion hub which aims to improve employment opportunities for immigrants and at risk youth in Toronto’s Regent Park neighbourhood. The Fashion Exchange fosters innovative, ethical, and environmentally and socially sustainable production. FX is a vibrant hub where fashion education, design, production, entrepreneurship and engagement come together under one roof in the heart of downtown Toronto.
The work of a food bank is to provide supplementary nutritional support to those in the society who, through unemployment, disability or economic marginalization are unable to meet all of their dietary needs. Beyond the provision of food, the Parkdale Community Food Bank must be a place of dignity, safety, respite and repose, where participants are made to feel that they are respected members of a community of mutual support. They share their gifts, and the resources available to them, based on their need, and according to their abilities. Members are encouraged to participate in the work through volunteerism, in an accepting and non-judgemental manner. By the contribution of each member to the other, we seek to lift each other up.
Archival and Heirloom Quality
'Sovereign/ties’ are 100% Habotai Silk, printed locally on no-waste runs through a reactive printing process. The silk is pre-treated so the application of a very hot steam after printing bonds the colours to the cells of the fibre, making the image archival.
Frame It
Nicole Kagan’s piece Stillness + Flow framed in a shadow box, gently tacked in the upper corners, allows her piece to hang naturally, highlighting her gold hand embellishments and illuminating both the levity and gravity of the work.
Wear It
There is a way to wear a Sovereign/ties scarf that suits everyone. Anything goes.
In essence, Sovereign/ties is about championing and sharing creativity in community — to nourish a vision of hope and imagination through shared reflection. The personal sovereign power of each artist's unique articulation is a balance of levity and gravity that uplifts in its beauty, authenticity and intentionality.
Pandemic or not, Sovereign/ties is a resonant expression of how we are tied together and when gathering can affect change.
The Lyceum Gallery
The Lyceum Gallery is co-located with The Orchard Lyceum, a middle school for in grades 6-8. Students receive the benefit of studying with working artists and being a part of a living gallery.
Here are some questions they had for the artists.
Jen Arron
"M.N."
What is the thing on the scarf made of? – Koan (11 years old)
I made this image by photographing some strands of fabric and wool. I used a macro lens which is able to zoom in very close up to tiny details like these.
Did you make it look like fish on water on purpose?
OOOH “a fish in water”! I never thought of that - but I like that idea! I was hoping to create something that looked like a landscape, a horizon maybe. I left it open so that the viewer could interpret it however they felt connected to. You were able to see a fish in water, I see rolling waves in the ocean, and someone else may see a sky at sunset, for example.
What does M.N. stand for?
M.N. stands for Mother Nature.
Jen Arron
Patricia Aziz
Patricia Aziz
"Nugget"
Why is the scarf named ‘Nugget’? – Felix (11 years old)
The image came first; naming it after. It was a challenge, but the first thing that came to mind. ‘Nugget’ is a nostalgic word for me, and I suppose it conjures images of Yukon Cornelius or the other mining references to a chunk of loot. The allure was in the potential.
Why are there little things on the scarf?
I feel it falls into the category of process. Process is what I call ‘stuff I like doing, without the burden of a finishing anything’. No pressure, just me doodling along. In this case I grabbed a cool brush and chose one colour. Shapes emerged. Then, as though creating an alphabet, came another and so on. I have used botanical illustrators’ layout quite often as it some how gives order to chaos and it feels like a study that lies between science and nature.
Why are the shapes complex and colourful?
Felix, you are a pro, because this was my last consideration in my non-commitment to a painting, but it is that which took 90% of my time. It was just filling in the blacks really. Applying colour is easy. After some diligence in finding a pallet of shades I dug, it took some time to kit out my mission, but then my tidy table descended into chaos as size colour became twenty-eight. There is a mind game in predicting how the colours got along. It happens every time. You are correct — it is complex. Some colour personalities support positive reaction and yet next to another negative. We need negative to support positive — the balance and control of these is the power we have to command attention to provide justice, understand nuance, achieve balance. It’s found in chemistry, physics and biology. Each nugget needed to compete as equal wealth so to speak. That became my burden.
Marina Dempster
"T/rust"
You created many pieces of art with one word inside of another and they are opposites. In what way are trust and rust opposites from your point of view? – Violet (13 years old)
While trust is something that might be seen as possibly eroding over time, I have found that with 'age' I am actually more able to trust myself, and that my happiness is less dependent on outside forces. I trust that when someone wears this scarf they will be reminded of their strength and intrinsic wholeness and that the 'weathering' only makes for a more beautiful, natural and unapologetic beauty.
Marina Dempster
Julie Fader
Julie Fader
"A Hard Rain"
In the future can you see your daughter wearing this scarf? What would it mean to her? – Alistair (10 yrs old)
I can definitely see my daughter both wearing this scarf and cherishing it. She will probably try it on the first time she sees it, but I can envision her as a grownup, keeping it somewhere close and it bringing memories and joy. Having sat in my studio so many times sketching quietly as I paint, coming home from school and looking at my new colour and patterns on canvas suffusing compliments along the way. She’s a part of it all.
Deborah Farquharson
"Threshold"
How was your artwork made? – Paloma (12 yrs old)
It was an experiment to be honest! I love to collect bunches of weeds, seeds, seed pods and seed heads in my wanderings. I laid them down on a painted surface, and then I put paint on another material and put that on top. I pressed it down with my hands and rubbed it and rubbed it, so that the light colour paint came off on top of the plant material and left this shadow print. It is super fun to try.
Deborah Farquharson
Tanya Fenkell
Tanya Fenkell
"The Long View"
Do you have a special connection with the colour blue? – Violet (13 years old)
The other day one of my sons said to me, “You know mum, not everything has to be blue you know…” The truth is that I love water and like to spend as much time as possible up north close to it. I find blue is soothing — the peaceful, calmness of it.
Christina Gapic
"This Moment"
Why did you focus on the flower and why did you make it black and white? – Lucian (9 yrs old)
I wanted to focus on one small area of the photo to make it the focal point and to draw attention to that tiny flower in the moment that I captured it. I thought it would be more dynamic that way. I love soft focus and found that the blur in the background created interesting shapes, patterns and tonal range which I love even more now that its printed on silk. I chose B&W to display the wide tonal range of greys between the black and white. Plus, I love black and white!
What does this scarf represent?
The scarf represents Being. To notice and observe. To be present and aware in the moment. Photography and life is so much about that for me. It is an area I am always trying to be better at.
Christina Gapic
Melanie Gordon
Melanie Gordon
"Sacred"
What inspired your art? – James (11 yrs old)
I’ve always been inspired by nature. This photograph is of a tree that I witnessed change day by day over 7 weeks while I was in Montana with my family this past summer. Prior to arriving in Montana I had been feeling anxious and disconnected because of the pandemic. Being in nature helped me find reconnection and calm. I call this piece "Sacred" because it is a reminder to connect to the beauty, magic, and meaning of life, even in the smallest moments. It is a reminder to see the "sacred" within ourselves as well.
Danijela Gorley
"Slow Dance Surrender"
How do flowers embody the beauty of surrender? – Mia (13 Years old)
That is a great question Mia. Because flowers are part of nature and we can observe their life cycle so easily, they remind me to surrender to these natural cycles and to notice the beauty in all its stages.
Danijela Gorley
Jocelyn Hirtes
Jocelyn Hirtes
"Free"
I understand this is an image of a quilt you pieced together — what do you love about quilting? – Paloma (12 years old)
There is liberation in this improvised quilt block, and freedom from constraint. The meditative quality of being in the present moment is so freeing for me— to be in flow, to make decisions ad hoc, to trust and surrender to intuition, to enjoy where the process takes me.
Lindsi Hollend
"Perspective"
Why did you choose a palm tree? – Arlo (11 years old)
I chose a palm tree for my scarf because I love the unique perspective it has. Usually when we imagine a palm tree in our mind, we see the trunk of the tree and the ground beneath and the sky behind and above. In this image it is only the leaves (I was looking UP at the leaves), so I thought it was a cool way to show off the palm tree. Also, I love palm trees because it makes me think of warm climates!
Why did you put the title of the scarf on the scarf?
I decided to put the word PERSPECTIVE on my scarf, so people who are wearing it can think about how they too can see things differently. Another example is to imagine a chair — the way you see it in your mind might be different than the way others see it - what colour is it? where is it? Are you looking down on it, or maybe under it? Having ‘perspective’ is fun because it makes the world a much more interesting place!
Why did you choose the colour gold?
The photo was taken at night, and the palm tree was lit up with a gold light. So I didn't actually choose it. I like to capture things as I see them — with a unique perspective!
Lindsi Hollend
Nicole Kagan
Nicole Kagan
"Stillness + Flow"
How long did it take you to make the print for the scarf? Where did you get the idea for the scarf? What type of art do you like to make the most? – Simon (10 years old)
Sensing that my watercolour and ink style would print beautifully on silk — I got very excited at the thought of creating original work specifically for this project.
I knew I wanted to visually explore the contrast and connection between the states of ‘stillness' and of ‘flow’ and how we can more mindfully and intentionally move through time, pausing to appreciate and ‘hold up’ the moments that stand out.
A visual motif I often intuitively use involves the drawing or scratching of ’time’ notches. The marks become a representation of the unfolding flow and movement of moments over a period of time, as well as a sense of contrast or ‘pausing.’ In my piece, the defined lines, along with softened washes of colour that blurs in areas, creates a sense of both structure and flow.
I created a first attempt, but wasn’t sure yet.. so went on to create 6 or 7 more but none of them captured the looseness of that first one! They started to feel too tight and controlled. The first felt the most ‘authentic' 😉
The addition of the photographic element of birds in flight was another way to create a sense of freedom and flow to contrast both the marching on of time and moments of pausing.
I most love working in mixed media — as I get such a thrill at the magic that occurs when painting mixes with stitching or photography or collaged found bits etc.. I’m all about delicious contrast!
Kathy Kranias
"I Am A Tree"
How did you make the sculpture on your scarf? – Koan (11 years old)
I made the sculpture out of clay, building it up by hand slowly from the bottom up. After letting it dry and harden I then put it in the kiln - an oven over a thousand degrees. Then Marina, your photo mentor, who has photographed many of my pieces over the years, took photographs of it to document it. Together we played with those images to create the design for this wearable piece.
Kathy Kranias
Kara McIntosh
Kara McIntosh
"Grace"
In your statement, you mentioned that the pandemic has sparked your creativity. Would you say that this time in isolation has made your work stronger? – Lily (12 yrs old)
I would say that this time in isolation meant that I had to look within my own curiosity to find inspiration more than ever because I couldn’t travel or even explore very much locally (which I do a lot and rely on for inspiration). We all found ourselves at home, without our regular routines like going to school, our studios or workplaces. I had to shift my thinking and the way I approached making art.
Exploring my own curiosity was kind of like looking inside myself instead of the “outside world” to guide my work. I learned to listen to my intuition, to trust in the marks I was making and to allow the work to emerge from deep within me. I tried really hard to not get in my own way!
So, yes, by opening up and allowing my creativity to flow in this very free and intuitive way, I feel the work is much stronger!
Christine Nnwuchi
"Resilience Circles"
The title of your piece is ‘Resilience Circles’ and circles feature prominently in your piece. What do circles mean to you? – Alistair (10 yrs old)
Circles have meant so many different things to me at various times throughout my life. I find that they appear everywhere that I’m mindful enough to look. Ever since I can remember I’ve always been intrigued by the deeper symbolism of a circle, and as a circle has no beginning and no end, it in essence to me represents eternity. I love space and astronomy, so looking up at the stars on a clear night I can easily get lost thinking about how vast our solar system is but knowing the constant of the circular trajectory of the planets as they make their journey around the sun grounds me and in some way it’s comforting. As mentioned earlier, the meaning of a circle changes and for me right now, in this moment, it is bringing happiness as I look down and see a mug in my hands that’s created a circle around the liquid in the mug as take a sip of my warm tea on this cold day. Contentment.
Christine Nnawuchi
Simone North
Simone North
"Slipstream"
I know you weren’t sure you would be able to join in the show. What pushed you to take part? – Paloma (12 yrs old)
I was hesitant to join the show because I have never identified myself as an artist. Although I paint and create art in many ways every day, it has never been something I’ve really shared with others. So to be asked to take part in such a show with professional artists felt so intimidating. I didn't feel like a REAL artist but what is a REAL artist anyway? Aren’t they someone who creates in their own magical way? And don’t I already do that?
Laura Jane Petelko
"The Day Fell on It’s Knees"
Why is the photo on your scarf so blurry? – James (11 yrs old)
The image used on the scarf is part of a series of photographs I’ve been working on for a few years called "Endless Gone". I use different degrees of de-focus to create photographs that feel more like paintings. I find that keeping them abstract in this way, they move away from being a document of a place or moment but more an impression or a feeling. Something that could look like how we might feel about or remember a place we love.
Why is the scarf called "The Day Fell On Its Knees"?
The title comes from a David Bowie song called "Stay". In fact, I almost called the piece "Stay". The images in this series all revolve around memory and nostalgia and for me; music and memory are very much intertwined. All of the pieces are titled with snippets of song lyrics that jump out to me when I’m producing the work.
Laura Jane Petelko
Johanna Reynolds
Johanna Reynolds
"Unearthed"
Does the single red dot on your painting have a hidden purpose? – Alistair (10 yrs old)
The purpose of the red dot, or any exciting dash of colour in an otherwise quieter part of one of my paintings gives the viewer a pleasant little surprise. It also works to direct the eyes around the painting itself, based on the notion of a good composition. Another analogy could be this: If the viewer were a bee looking for pollen, the painting acts as the garden of flowers to be explored.
Holly Venable
"Medusae"
In your artist statement, you draw a parallel between Medusa (the mythical snake haired woman) and the medusa stage of a jelly fish’s development. What is the connection? – Julian (13 yrs old)
If you are swimming in the ocean, you may see a translucent bell-shaped figure arise from the deep before it makes contact with you. The electrifying sting it delivers is often described as angry. The jellyfish as a beautiful fury seems the perfect allegory for the myth of Medusa.
Holly Venable
Sara Wood
Sara Wood
"Seed"
Why did you choose a seed for your scarf? – Lucian (9 yrs old)
I love seeds. Seeds make me think if creation, potential, beginnings, light, ideas, sparks, patterns, history, nature, offerings, food, and the future. They are resilient, receptive and want nothing more than to exist! Sometimes seeds have to overcome big obstacles before they can germinate and grow. They might have to make a long journey, or wait dormant a few years for conditions to improve. I like to think of my ideas like little seeds that with the right nurturing (usually positive-thinking, time, hard-work, and good music), even if there are obstacles (like pandemics, or failed-experiments), can sprout to life and become something real and beautiful and strong.
What is the white shape in the picture? I’m curious.
The white shape in the picture is a few things. Firstly, it's a clay pot that I made out of porcelain. It is also a tribute to my friend Johnny (Smialek) who passed away last year. In it, I keep some of his ashes and some of his words and a few other keepsakes that remind me of him. So, I guess it’s also a kind of memory jar.
Johnny was an artist and one of his projects was inventing an alphabet for an imaginary language in the future. He wrote a story about two baby beings, a male and a female, sent into space in a pod to “emerge” in the future (kind of like a time capsule, or, if you think about it, like a seed). Floating in space, without any earthly connotations, without anyone but each other and their inner thoughts and feelings, Johnny imagined what kind of language would they develop to communicate?He created over 10,000 letters for the alphabet and was exploring what the language might sound like — his favourite idea was something like bird song.
When I made the pot in the picture, I pressed the letters of his alphabet in the clay and then cut them out. Then I layered them to form the seed shape - kind of like a pine cone. I loosely followed a mathematical pattern from nature that you can see hiding in lots of things like flowers, shells, trees, and seeds! It’s called the Fibonacci sequence and it reminds me that Nature is a really good designer! Thinking about Nature’s patterns makes it easier for me to accept the death of my friend. So, the white thing in the picture is also a seed and a story, and a space-pod, and a kind of talisman for healing my own grief.
Sara Foelske
"Keep Going"
Our first contribution to this collective expression was Sarah Foelske’s ‘Keep Going’ assemblage which embodies the essence of this collective expression. Her words and image buoyed all of us despite unpredictable pandemic challenges and gave us the wisdom we needed in the chaos and layers of things. The ‘Sovereign/ties’ logo was also designed by her (aka Make Nice design). We love that the ‘ie’ happens to stand alone, implying ’that is’ the collective intention is shared via the innate sovereign power of each artist's expression.
"I am committed to making something every day. I want to remind the individual who wears or hangs this scarf to "KEEP GOING" and to keep making. There are beautiful things coming out of this time in history and wearing this scarf or hanging it on your wall should be a reminder that, 'Everything will be ok in the end. If it’s not ok, it’s not the end (John Lennon).' " – Sarah Foelske
Sarah Foelske
Special thanks to Foundher Productions for assistance with video.
Gratitude to Leelee Design for graphic design and online sales support.
A scarf can be many powerful things — an object of protection or ritual, a signalling device, an expression of beauty, a statement of purpose or of resistance.
‘Sovereign/ties’ is a collection of silk scarves that serve as resonant tactile pieces of wisdom shared through the artful practice of each distinct maker.
As the world paused this year, creativity persisted. These resulting wearable art pieces are potent reminders that resound in our collective imagination, to trust our true voices and believe in the healing and transformative nature of our creative impulses.
This is a powerful and glamorous gathering. These ‘sovereign/ties’ embody a synergistic invocation of hope, imagination and resilience.
Installation and Opening
Photos by Christina Gapic
Co-Curators Interview:
Holly Venable and Marina Dempster
Director, The Lyceum Gallery
Sovereign/ties Curator and Artist in Residence
When you acquire a Sovereign/ties work you are:
» Collecting art from power-house women artists.
» Becoming part of this uplifting collective expression.
» Acquiring a timeless, tactile, glamorous and meaningful heirloom.
» Supporting George Brown College's Fashion Exchange (FX) who hemmed the scarves with great care.
» Raising funds for The Parkdale Community Food Bank.
George Brown College’s Fashion Exchange is a fashion hub which aims to improve employment opportunities for immigrants and at risk youth in Toronto’s Regent Park neighbourhood. The Fashion Exchange fosters innovative, ethical, and environmentally and socially sustainable production. FX is a vibrant hub where fashion education, design, production, entrepreneurship and engagement come together under one roof in the heart of downtown Toronto.
The work of a food bank is to provide supplementary nutritional support to those in the society who, through unemployment, disability or economic marginalization are unable to meet all of their dietary needs. Beyond the provision of food, the Parkdale Community Food Bank must be a place of dignity, safety, respite and repose, where participants are made to feel that they are respected members of a community of mutual support. They share their gifts, and the resources available to them, based on their need, and according to their abilities. Members are encouraged to participate in the work through volunteerism, in an accepting and non-judgemental manner. By the contribution of each member to the other, we seek to lift each other up.
Archival and Heirloom Quality
'Sovereign/ties’ are 100% Habotai Silk, printed locally on no-waste runs through a reactive printing process. The silk is pre-treated so the application of a very hot steam after printing bonds the colours to the cells of the fibre, making the image archival.
Frame It
Nicole Kagan’s piece Stillness + Flow framed in a shadow box, gently tacked in the upper corners, allows her piece to hang naturally, highlighting her gold hand embellishments and illuminating both the levity and gravity of the work.
Wear It
There is a way to wear a Sovereign/ties scarf that suits everyone. Anything goes.
In essence, Sovereign/ties is about championing and sharing creativity in community — to nourish a vision of hope and imagination through shared reflection. The personal sovereign power of each artist's unique articulation is a balance of levity and gravity that uplifts in its beauty, authenticity and intentionality.
Pandemic or not, Sovereign/ties is a resonant expression of how we are tied together and when gathering can affect change.
The Lyceum Gallery
The Lyceum Gallery is co-located with The Orchard Lyceum, a middle school for in grades 6-8. Students receive the benefit of studying with working artists and being a part of a living gallery.
Here are some questions they had for the artists.
Jen Arron
Jen Arron
"M.N."
What is the thing on the scarf made of? – Koan (11 years old)
I made this image by photographing some strands of fabric and wool. I used a macro lens which is able to zoom in very close up to tiny details like these.
Did you make it look like fish on water on purpose?
OOOH “a fish in water”! I never thought of that - but I like that idea! I was hoping to create something that looked like a landscape, a horizon maybe. I left it open so that the viewer could interpret it however they felt connected to. You were able to see a fish in water, I see rolling waves in the ocean, and someone else may see a sky at sunset, for example.
What does M.N. stand for?
M.N. stands for Mother Nature.
Patricia Aziz
Patricia Aziz
"Nugget"
Why is the scarf named ‘Nugget’? – Felix (11 years old)
The image came first; naming it after. It was a challenge, but the first thing that came to mind. ‘Nugget’ is a nostalgic word for me, and I suppose it conjures images of Yukon Cornelius or the other mining references to a chunk of loot. The allure was in the potential.
Why are there little things on the scarf?
I feel it falls into the category of process. Process is what I call ‘stuff I like doing, without the burden of a finishing anything’. No pressure, just me doodling along. In this case I grabbed a cool brush and chose one colour. Shapes emerged. Then, as though creating an alphabet, came another and so on. I have used botanical illustrators’ layout quite often as it some how gives order to chaos and it feels like a study that lies between science and nature.
Why are the shapes complex and colourful?
Felix, you are a pro, because this was my last consideration in my non-commitment to a painting, but it is that which took 90% of my time. It was just filling in the blacks really. Applying colour is easy. After some diligence in finding a pallet of shades I dug, it took some time to kit out my mission, but then my tidy table descended into chaos as size colour became twenty-eight. There is a mind game in predicting how the colours got along. It happens every time. You are correct — it is complex. Some colour personalities support positive reaction and yet next to another negative. We need negative to support positive — the balance and control of these is the power we have to command attention to provide justice, understand nuance, achieve balance. It’s found in chemistry, physics and biology. Each nugget needed to compete as equal wealth so to speak. That became my burden.
Marina Dempster
Marina Dempster
"T/rust"
You created many pieces of art with one word inside of another and they are opposites. In what way are trust and rust opposites from your point of view? – Violet (13 years old)
While trust is something that might be seen as possibly eroding over time, I have found that with 'age' I am actually more able to trust myself, and that my happiness is less dependent on outside forces. I trust that when someone wears this scarf they will be reminded of their strength and intrinsic wholeness and that the 'weathering' only makes for a more beautiful, natural and unapologetic beauty.
Julie Fader
Julie Fader
"A Hard Rain"
In the future can you see your daughter wearing this scarf? What would it mean to her? – Alistair (10 yrs old)
I can definitely see my daughter both wearing this scarf and cherishing it. She will probably try it on the first time she sees it, but I can envision her as a grownup, keeping it somewhere close and it bringing memories and joy. Having sat in my studio so many times sketching quietly as I paint, coming home from school and looking at my new colour and patterns on canvas suffusing compliments along the way. She’s a part of it all.
Deborah Farquharson
Deborah Farquharson
"Threshold"
How was your artwork made? – Paloma (12 yrs old)
It was an experiment to be honest! I love to collect bunches of weeds, seeds, seed pods and seed heads in my wanderings. I laid them down on a painted surface, and then I put paint on another material and put that on top. I pressed it down with my hands and rubbed it and rubbed it, so that the light colour paint came off on top of the plant material and left this shadow print. It is super fun to try.
Tanya Fenkell
Tanya Fenkell
"The Long View"
Do you have a special connection with the colour blue? – Violet (13 years old)
The other day one of my sons said to me, “You know mum, not everything has to be blue you know…” The truth is that I love water and like to spend as much time as possible up north close to it. I find blue is soothing — the peaceful, calmness of it.
Christina Gapic
Christina Gapic
"This Moment"
Why did you focus on the flower and why did you make it black and white? – Lucian (9 yrs old)
I wanted to focus on one small area of the photo to make it the focal point and to draw attention to that tiny flower in the moment that I captured it. I thought it would be more dynamic that way. I love soft focus and found that the blur in the background created interesting shapes, patterns and tonal range which I love even more now that its printed on silk. I chose B&W to display the wide tonal range of greys between the black and white. Plus, I love black and white!
What does this scarf represent?
The scarf represents Being. To notice and observe. To be present and aware in the moment. Photography and life is so much about that for me. It is an area I am always trying to be better at.
Melanie Gordon
Melanie Gordon
"Sacred"
What inspired your art? – James (11 yrs old)
I’ve always been inspired by nature. This photograph is of a tree that I witnessed change day by day over 7 weeks while I was in Montana with my family this past summer. Prior to arriving in Montana I had been feeling anxious and disconnected because of the pandemic. Being in nature helped me find reconnection and calm. I call this piece "Sacred" because it is a reminder to connect to the beauty, magic, and meaning of life, even in the smallest moments. It is a reminder to see the "sacred" within ourselves as well.
Danijela Gorley
Danijela Gorley
"Slow Dance Surrender"
How do flowers embody the beauty of surrender? – Mia (13 Years old)
That is a great question Mia. Because flowers are part of nature and we can observe their life cycle so easily, they remind me to surrender to these natural cycles and to notice the beauty in all its stages.
Jocelyn Hirtes
Jocelyn Hirtes
"Free"
I understand this is an image of a quilt you pieced together — what do you love about quilting? – Paloma (12 years old)
There is liberation in this improvised quilt block, and freedom from constraint. The meditative quality of being in the present moment is so freeing for me— to be in flow, to make decisions ad hoc, to trust and surrender to intuition, to enjoy where the process takes me.
Lindsi Hollend
Lindsi Hollend
"Perspective"
Why did you choose a palm tree? – Arlo (11 years old)
I chose a palm tree for my scarf because I love the unique perspective it has. Usually when we imagine a palm tree in our mind, we see the trunk of the tree and the ground beneath and the sky behind and above. In this image it is only the leaves (I was looking UP at the leaves), so I thought it was a cool way to show off the palm tree. Also, I love palm trees because it makes me think of warm climates!
Why did you put the title of the scarf on the scarf?
I decided to put the word PERSPECTIVE on my scarf, so people who are wearing it can think about how they too can see things differently. Another example is to imagine a chair — the way you see it in your mind might be different than the way others see it - what colour is it? where is it? Are you looking down on it, or maybe under it? Having ‘perspective’ is fun because it makes the world a much more interesting place!
Why did you choose the colour gold?
The photo was taken at night, and the palm tree was lit up with a gold light. So I didn't actually choose it. I like to capture things as I see them — with a unique perspective!
Nicole Kagan
Nicole Kagan
"Stillness + Flow"
How long did it take you to make the print for the scarf? Where did you get the idea for the scarf? What type of art do you like to make the most? – Simon (10 years old)
Sensing that my watercolour and ink style would print beautifully on silk — I got very excited at the thought of creating original work specifically for this project.
I knew I wanted to visually explore the contrast and connection between the states of ‘stillness' and of ‘flow’ and how we can more mindfully and intentionally move through time, pausing to appreciate and ‘hold up’ the moments that stand out.
A visual motif I often intuitively use involves the drawing or scratching of ’time’ notches. The marks become a representation of the unfolding flow and movement of moments over a period of time, as well as a sense of contrast or ‘pausing.’ In my piece, the defined lines, along with softened washes of colour that blurs in areas, creates a sense of both structure and flow.
I created a first attempt, but wasn’t sure yet.. so went on to create 6 or 7 more but none of them captured the looseness of that first one! They started to feel too tight and controlled. The first felt the most ‘authentic' 😉
The addition of the photographic element of birds in flight was another way to create a sense of freedom and flow to contrast both the marching on of time and moments of pausing.
I most love working in mixed media — as I get such a thrill at the magic that occurs when painting mixes with stitching or photography or collaged found bits etc.. I’m all about delicious contrast!
Kathy Kranias
Kathy Kranias
"I Am A Tree"
How did you make the sculpture on your scarf? – Koan (11 years old)
I made the sculpture out of clay, building it up by hand slowly from the bottom up. After letting it dry and harden I then put it in the kiln - an oven over a thousand degrees. Then Marina, your photo mentor, who has photographed many of my pieces over the years, took photographs of it to document it. Together we played with those images to create the design for this wearable piece.
Kara McIntosh
Kara McIntosh
"Grace"
In your statement, you mentioned that the pandemic has sparked your creativity. Would you say that this time in isolation has made your work stronger? – Lily (12 yrs old)
I would say that this time in isolation meant that I had to look within my own curiosity to find inspiration more than ever because I couldn’t travel or even explore very much locally (which I do a lot and rely on for inspiration). We all found ourselves at home, without our regular routines like going to school, our studios or workplaces. I had to shift my thinking and the way I approached making art.
Exploring my own curiosity was kind of like looking inside myself instead of the “outside world” to guide my work. I learned to listen to my intuition, to trust in the marks I was making and to allow the work to emerge from deep within me. I tried really hard to not get in my own way!
So, yes, by opening up and allowing my creativity to flow in this very free and intuitive way, I feel the work is much stronger!
Christine Nnawuchi
Christine Nnwuchi
"Resilience Circles"
The title of your piece is ‘Resilience Circles’ and circles feature prominently in your piece. What do circles mean to you? – Alistair (10 yrs old)
Circles have meant so many different things to me at various times throughout my life. I find that they appear everywhere that I’m mindful enough to look. Ever since I can remember I’ve always been intrigued by the deeper symbolism of a circle, and as a circle has no beginning and no end, it in essence to me represents eternity. I love space and astronomy, so looking up at the stars on a clear night I can easily get lost thinking about how vast our solar system is but knowing the constant of the circular trajectory of the planets as they make their journey around the sun grounds me and in some way it’s comforting. As mentioned earlier, the meaning of a circle changes and for me right now, in this moment, it is bringing happiness as I look down and see a mug in my hands that’s created a circle around the liquid in the mug as take a sip of my warm tea on this cold day. Contentment.
Simone North
Simone North
"Slipstream"
I know you weren’t sure you would be able to join in the show. What pushed you to take part? – Paloma (12 yrs old)
I was hesitant to join the show because I have never identified myself as an artist. Although I paint and create art in many ways every day, it has never been something I’ve really shared with others. So to be asked to take part in such a show with professional artists felt so intimidating. I didn't feel like a REAL artist but what is a REAL artist anyway? Aren’t they someone who creates in their own magical way? And don’t I already do that?
Laura Jane Petelko
Laura Jane Petelko
"The Day Fell on It’s Knees"
Why is the photo on your scarf so blurry? – James (11 yrs old)
The image used on the scarf is part of a series of photographs I’ve been working on for a few years called "Endless Gone". I use different degrees of de-focus to create photographs that feel more like paintings. I find that keeping them abstract in this way, they move away from being a document of a place or moment but more an impression or a feeling. Something that could look like how we might feel about or remember a place we love.
Why is the scarf called "The Day Fell On Its Knees"?
The title comes from a David Bowie song called "Stay". In fact, I almost called the piece "Stay". The images in this series all revolve around memory and nostalgia and for me; music and memory are very much intertwined. All of the pieces are titled with snippets of song lyrics that jump out to me when I’m producing the work.
Johanna Reynolds
Johanna Reynolds
"Unearthed"
Does the single red dot on your painting have a hidden purpose? – Alistair (10 yrs old)
The purpose of the red dot, or any exciting dash of colour in an otherwise quieter part of one of my paintings gives the viewer a pleasant little surprise. It also works to direct the eyes around the painting itself, based on the notion of a good composition. Another analogy could be this: If the viewer were a bee looking for pollen, the painting acts as the garden of flowers to be explored.
Holly Venable
Holly Venable
"Medusae"
In your artist statement, you draw a parallel between Medusa (the mythical snake haired woman) and the medusa stage of a jelly fish’s development. What is the connection? – Julian (13 yrs old)
If you are swimming in the ocean, you may see a translucent bell-shaped figure arise from the deep before it makes contact with you. The electrifying sting it delivers is often described as angry. The jellyfish as a beautiful fury seems the perfect allegory for the myth of Medusa.
Sara Wood
Sara Wood
"Seed"
Why did you choose a seed for your scarf? – Lucian (9 yrs old)
I love seeds. Seeds make me think if creation, potential, beginnings, light, ideas, sparks, patterns, history, nature, offerings, food, and the future. They are resilient, receptive and want nothing more than to exist! Sometimes seeds have to overcome big obstacles before they can germinate and grow. They might have to make a long journey, or wait dormant a few years for conditions to improve. I like to think of my ideas like little seeds that with the right nurturing (usually positive-thinking, time, hard-work, and good music), even if there are obstacles (like pandemics, or failed-experiments), can sprout to life and become something real and beautiful and strong.
What is the white shape in the picture? I’m curious.
The white shape in the picture is a few things. Firstly, it's a clay pot that I made out of porcelain. It is also a tribute to my friend Johnny (Smialek) who passed away last year. In it, I keep some of his ashes and some of his words and a few other keepsakes that remind me of him. So, I guess it’s also a kind of memory jar.
Johnny was an artist and one of his projects was inventing an alphabet for an imaginary language in the future. He wrote a story about two baby beings, a male and a female, sent into space in a pod to “emerge” in the future (kind of like a time capsule, or, if you think about it, like a seed). Floating in space, without any earthly connotations, without anyone but each other and their inner thoughts and feelings, Johnny imagined what kind of language would they develop to communicate?He created over 10,000 letters for the alphabet and was exploring what the language might sound like — his favourite idea was something like bird song.
When I made the pot in the picture, I pressed the letters of his alphabet in the clay and then cut them out. Then I layered them to form the seed shape - kind of like a pine cone. I loosely followed a mathematical pattern from nature that you can see hiding in lots of things like flowers, shells, trees, and seeds! It’s called the Fibonacci sequence and it reminds me that Nature is a really good designer! Thinking about Nature’s patterns makes it easier for me to accept the death of my friend. So, the white thing in the picture is also a seed and a story, and a space-pod, and a kind of talisman for healing my own grief.
Sarah Foelske
Sara Foelske
"Keep Going"
Our first contribution to this collective expression was Sarah Foelske’s ‘Keep Going’ assemblage which embodies the essence of this collective expression. Her words and image buoyed all of us despite unpredictable pandemic challenges and gave us the wisdom we needed in the chaos and layers of things. The ‘Sovereign/ties’ logo was also designed by her (aka Make Nice design). We love that the ‘ie’ happens to stand alone, implying ’that is’ the collective intention is shared via the innate sovereign power of each artist's expression.
"I am committed to making something every day. I want to remind the individual who wears or hangs this scarf to "KEEP GOING" and to keep making. There are beautiful things coming out of this time in history and wearing this scarf or hanging it on your wall should be a reminder that, 'Everything will be ok in the end. If it’s not ok, it’s not the end (John Lennon).' " – Sarah Foelske
Special thanks to Foundher Productions for assistance with video.
Gratitude to Leelee Design for graphic design and online sales support.
A scarf can be many powerful things — an object of protection or ritual, a signalling device, an expression of beauty, a statement of purpose or of resistance.
‘Sovereign/ties’ is a collection of silk scarves that serve as resonant tactile pieces of wisdom shared through the artful practice of each distinct maker.
As the world paused this year, creativity persisted. These resulting wearable art pieces are potent reminders that resound in our collective imagination, to trust our true voices and believe in the healing and transformative nature of our creative impulses.
This is a powerful and glamorous gathering. These ‘sovereign/ties’ embody a synergistic invocation of hope, imagination and resilience.
Installation and Opening
Photos by Christina Gapic
Director, The Lyceum Gallery
Sovereign/ties Curator and Artist in Residence
When you acquire a Sovereign/ties work you are:
» Collecting art from power-house women artists.
» Becoming part of this uplifting collective expression.
» Acquiring a timeless, tactile, glamorous and meaningful heirloom.
» Supporting George Brown College's Fashion Exchange (FX) who hemmed the scarves with great care.
» Raising funds for The Parkdale Community Food Bank.
George Brown College’s Fashion Exchange is a fashion hub which aims to improve employment opportunities for immigrants and at risk youth in Toronto’s Regent Park neighbourhood. The Fashion Exchange fosters innovative, ethical, and environmentally and socially sustainable production. FX is a vibrant hub where fashion education, design, production, entrepreneurship and engagement come together under one roof in the heart of downtown Toronto.
The work of a food bank is to provide supplementary nutritional support to those in the society who, through unemployment, disability or economic marginalization are unable to meet all of their dietary needs. Beyond the provision of food, the Parkdale Community Food Bank must be a place of dignity, safety, respite and repose, where participants are made to feel that they are respected members of a community of mutual support. They share their gifts, and the resources available to them, based on their need, and according to their abilities. Members are encouraged to participate in the work through volunteerism, in an accepting and non-judgemental manner. By the contribution of each member to the other, we seek to lift each other up.
Archival and Heirloom Quality
'Sovereign/ties’ are 100% Habotai Silk, printed locally on no-waste runs through a reactive printing process. The silk is pre-treated so the application of a very hot steam after printing bonds the colours to the cells of the fibre, making the image archival.
Frame It
Nicole Kagan’s piece Stillness + Flow framed in a shadow box, gently tacked in the upper corners, allows her piece to hang naturally, highlighting her gold hand embellishments and illuminating both the levity and gravity of the work.
Wear It
There is a way to wear a Sovereign/ties scarf that suits everyone. Anything goes.
In essence, Sovereign/ties is about championing and sharing creativity in community — to nourish a vision of hope and imagination through shared reflection. The personal sovereign power of each artist's unique articulation is a balance of levity and gravity that uplifts in its beauty, authenticity and intentionality.
Pandemic or not, Sovereign/ties is a resonant expression of how we are tied together and when gathering can affect change.
The Lyceum Gallery
The Lyceum Gallery is co-located with The Orchard Lyceum, a middle school for in grades 6-8. Students receive the benefit of studying with working artists and being a part of a living gallery.
Here are some questions they had for the artists.
Jen Arron
Jen Arron
"M.N."
What is the thing on the scarf made of? – Koan (11 years old)
I made this image by photographing some strands of fabric and wool. I used a macro lens which is able to zoom in very close up to tiny details like these.
Did you make it look like fish on water on purpose?
OOOH “a fish in water”! I never thought of that - but I like that idea! I was hoping to create something that looked like a landscape, a horizon maybe. I left it open so that the viewer could interpret it however they felt connected to. You were able to see a fish in water, I see rolling waves in the ocean, and someone else may see a sky at sunset, for example.
What does M.N. stand for?
M.N. stands for Mother Nature.
Patricia Aziz
Patricia Aziz
"Nugget"
Why is the scarf named ‘Nugget’? – Felix (11 years old)
The image came first; naming it after. It was a challenge, but the first thing that came to mind. ‘Nugget’ is a nostalgic word for me, and I suppose it conjures images of Yukon Cornelius or the other mining references to a chunk of loot. The allure was in the potential.
Why are there little things on the scarf?
I feel it falls into the category of process. Process is what I call ‘stuff I like doing, without the burden of a finishing anything’. No pressure, just me doodling along. In this case I grabbed a cool brush and chose one colour. Shapes emerged. Then, as though creating an alphabet, came another and so on. I have used botanical illustrators’ layout quite often as it some how gives order to chaos and it feels like a study that lies between science and nature.
Why are the shapes complex and colourful?
Felix, you are a pro, because this was my last consideration in my non-commitment to a painting, but it is that which took 90% of my time. It was just filling in the blacks really. Applying colour is easy. After some diligence in finding a pallet of shades I dug, it took some time to kit out my mission, but then my tidy table descended into chaos as size colour became twenty-eight. There is a mind game in predicting how the colours got along. It happens every time. You are correct — it is complex. Some colour personalities support positive reaction and yet next to another negative. We need negative to support positive — the balance and control of these is the power we have to command attention to provide justice, understand nuance, achieve balance. It’s found in chemistry, physics and biology. Each nugget needed to compete as equal wealth so to speak. That became my burden.
Marina Dempster
Marina Dempster
"T/rust"
You created many pieces of art with one word inside of another and they are opposites. In what way are trust and rust opposites from your point of view? – Violet (13 years old)
While trust is something that might be seen as possibly eroding over time, I have found that with 'age' I am actually more able to trust myself, and that my happiness is less dependent on outside forces. I trust that when someone wears this scarf they will be reminded of their strength and intrinsic wholeness and that the 'weathering' only makes for a more beautiful, natural and unapologetic beauty.
Julie Fader
Julie Fader
"A Hard Rain"
In the future can you see your daughter wearing this scarf? What would it mean to her? – Alistair (10 yrs old)
I can definitely see my daughter both wearing this scarf and cherishing it. She will probably try it on the first time she sees it, but I can envision her as a grownup, keeping it somewhere close and it bringing memories and joy. Having sat in my studio so many times sketching quietly as I paint, coming home from school and looking at my new colour and patterns on canvas suffusing compliments along the way. She’s a part of it all.
Deborah Farquharson
Deborah Farquharson
"Threshold"
How was your artwork made? – Paloma (12 yrs old)
It was an experiment to be honest! I love to collect bunches of weeds, seeds, seed pods and seed heads in my wanderings. I laid them down on a painted surface, and then I put paint on another material and put that on top. I pressed it down with my hands and rubbed it and rubbed it, so that the light colour paint came off on top of the plant material and left this shadow print. It is super fun to try.
Tanya Fenkell
Tanya Fenkell
"The Long View"
Do you have a special connection with the colour blue? – Violet (13 years old)
The other day one of my sons said to me, “You know mum, not everything has to be blue you know…” The truth is that I love water and like to spend as much time as possible up north close to it. I find blue is soothing — the peaceful, calmness of it.
Christina Gapic
Christina Gapic
"This Moment"
Why did you focus on the flower and why did you make it black and white? – Lucian (9 yrs old)
I wanted to focus on one small area of the photo to make it the focal point and to draw attention to that tiny flower in the moment that I captured it. I thought it would be more dynamic that way. I love soft focus and found that the blur in the background created interesting shapes, patterns and tonal range which I love even more now that its printed on silk. I chose B&W to display the wide tonal range of greys between the black and white. Plus, I love black and white!
What does this scarf represent?
The scarf represents Being. To notice and observe. To be present and aware in the moment. Photography and life is so much about that for me. It is an area I am always trying to be better at.
Melanie Gordon
Melanie Gordon
"Sacred"
What inspired your art? – James (11 yrs old)
I’ve always been inspired by nature. This photograph is of a tree that I witnessed change day by day over 7 weeks while I was in Montana with my family this past summer. Prior to arriving in Montana I had been feeling anxious and disconnected because of the pandemic. Being in nature helped me find reconnection and calm. I call this piece "Sacred" because it is a reminder to connect to the beauty, magic, and meaning of life, even in the smallest moments. It is a reminder to see the "sacred" within ourselves as well.
Danijela Gorley
Danijela Gorley
"Slow Dance Surrender"
How do flowers embody the beauty of surrender? – Mia (13 Years old)
That is a great question Mia. Because flowers are part of nature and we can observe their life cycle so easily, they remind me to surrender to these natural cycles and to notice the beauty in all its stages.
Jocelyn Hirtes
Jocelyn Hirtes
"Free"
I understand this is an image of a quilt you pieced together — what do you love about quilting? – Paloma (12 years old)
There is liberation in this improvised quilt block, and freedom from constraint. The meditative quality of being in the present moment is so freeing for me— to be in flow, to make decisions ad hoc, to trust and surrender to intuition, to enjoy where the process takes me.
Lindsi Hollend
Lindsi Hollend
"Perspective"
Why did you choose a palm tree? – Arlo (11 years old)
I chose a palm tree for my scarf because I love the unique perspective it has. Usually when we imagine a palm tree in our mind, we see the trunk of the tree and the ground beneath and the sky behind and above. In this image it is only the leaves (I was looking UP at the leaves), so I thought it was a cool way to show off the palm tree. Also, I love palm trees because it makes me think of warm climates!
Why did you put the title of the scarf on the scarf?
I decided to put the word PERSPECTIVE on my scarf, so people who are wearing it can think about how they too can see things differently. Another example is to imagine a chair — the way you see it in your mind might be different than the way others see it - what colour is it? where is it? Are you looking down on it, or maybe under it? Having ‘perspective’ is fun because it makes the world a much more interesting place!
Why did you choose the colour gold?
The photo was taken at night, and the palm tree was lit up with a gold light. So I didn't actually choose it. I like to capture things as I see them — with a unique perspective!
Nicole Kagan
Nicole Kagan
"Stillness + Flow"
How long did it take you to make the print for the scarf? Where did you get the idea for the scarf? What type of art do you like to make the most? – Simon (10 years old)
Sensing that my watercolour and ink style would print beautifully on silk — I got very excited at the thought of creating original work specifically for this project.
I knew I wanted to visually explore the contrast and connection between the states of ‘stillness' and of ‘flow’ and how we can more mindfully and intentionally move through time, pausing to appreciate and ‘hold up’ the moments that stand out.
A visual motif I often intuitively use involves the drawing or scratching of ’time’ notches. The marks become a representation of the unfolding flow and movement of moments over a period of time, as well as a sense of contrast or ‘pausing.’ In my piece, the defined lines, along with softened washes of colour that blurs in areas, creates a sense of both structure and flow.
I created a first attempt, but wasn’t sure yet.. so went on to create 6 or 7 more but none of them captured the looseness of that first one! They started to feel too tight and controlled. The first felt the most ‘authentic' 😉
The addition of the photographic element of birds in flight was another way to create a sense of freedom and flow to contrast both the marching on of time and moments of pausing.
I most love working in mixed media — as I get such a thrill at the magic that occurs when painting mixes with stitching or photography or collaged found bits etc.. I’m all about delicious contrast!
Kathy Kranias
Kathy Kranias
"I Am A Tree"
How did you make the sculpture on your scarf? – Koan (11 years old)
I made the sculpture out of clay, building it up by hand slowly from the bottom up. After letting it dry and harden I then put it in the kiln - an oven over a thousand degrees. Then Marina, your photo mentor, who has photographed many of my pieces over the years, took photographs of it to document it. Together we played with those images to create the design for this wearable piece.
Kara McIntosh
Kara McIntosh
"Grace"
In your statement, you mentioned that the pandemic has sparked your creativity. Would you say that this time in isolation has made your work stronger? – Lily (12 yrs old)
I would say that this time in isolation meant that I had to look within my own curiosity to find inspiration more than ever because I couldn’t travel or even explore very much locally (which I do a lot and rely on for inspiration). We all found ourselves at home, without our regular routines like going to school, our studios or workplaces. I had to shift my thinking and the way I approached making art.
Exploring my own curiosity was kind of like looking inside myself instead of the “outside world” to guide my work. I learned to listen to my intuition, to trust in the marks I was making and to allow the work to emerge from deep within me. I tried really hard to not get in my own way!
So, yes, by opening up and allowing my creativity to flow in this very free and intuitive way, I feel the work is much stronger!
Christine Nnawuchi
Christine Nnwuchi
"Resilience Circles"
The title of your piece is ‘Resilience Circles’ and circles feature prominently in your piece. What do circles mean to you? – Alistair (10 yrs old)
Circles have meant so many different things to me at various times throughout my life. I find that they appear everywhere that I’m mindful enough to look. Ever since I can remember I’ve always been intrigued by the deeper symbolism of a circle, and as a circle has no beginning and no end, it in essence to me represents eternity. I love space and astronomy, so looking up at the stars on a clear night I can easily get lost thinking about how vast our solar system is but knowing the constant of the circular trajectory of the planets as they make their journey around the sun grounds me and in some way it’s comforting. As mentioned earlier, the meaning of a circle changes and for me right now, in this moment, it is bringing happiness as I look down and see a mug in my hands that’s created a circle around the liquid in the mug as take a sip of my warm tea on this cold day. Contentment.
Simone North
Simone North
"Slipstream"
I know you weren’t sure you would be able to join in the show. What pushed you to take part? – Paloma (12 yrs old)
I was hesitant to join the show because I have never identified myself as an artist. Although I paint and create art in many ways every day, it has never been something I’ve really shared with others. So to be asked to take part in such a show with professional artists felt so intimidating. I didn't feel like a REAL artist but what is a REAL artist anyway? Aren’t they someone who creates in their own magical way? And don’t I already do that?
Laura Jane Petelko
Laura Jane Petelko
"The Day Fell on It’s Knees"
Why is the photo on your scarf so blurry? – James (11 yrs old)
The image used on the scarf is part of a series of photographs I’ve been working on for a few years called "Endless Gone". I use different degrees of de-focus to create photographs that feel more like paintings. I find that keeping them abstract in this way, they move away from being a document of a place or moment but more an impression or a feeling. Something that could look like how we might feel about or remember a place we love.
Why is the scarf called "The Day Fell On Its Knees"?
The title comes from a David Bowie song called "Stay". In fact, I almost called the piece "Stay". The images in this series all revolve around memory and nostalgia and for me; music and memory are very much intertwined. All of the pieces are titled with snippets of song lyrics that jump out to me when I’m producing the work.
Johanna Reynolds
Johanna Reynolds
"Unearthed"
Does the single red dot on your painting have a hidden purpose? – Alistair (10 yrs old)
The purpose of the red dot, or any exciting dash of colour in an otherwise quieter part of one of my paintings gives the viewer a pleasant little surprise. It also works to direct the eyes around the painting itself, based on the notion of a good composition. Another analogy could be this: If the viewer were a bee looking for pollen, the painting acts as the garden of flowers to be explored.
Holly Venable
Holly Venable
"Medusae"
In your artist statement, you draw a parallel between Medusa (the mythical snake haired woman) and the medusa stage of a jelly fish’s development. What is the connection? – Julian (13 yrs old)
If you are swimming in the ocean, you may see a translucent bell-shaped figure arise from the deep before it makes contact with you. The electrifying sting it delivers is often described as angry. The jellyfish as a beautiful fury seems the perfect allegory for the myth of Medusa.
Sara Wood
Sara Wood
"Seed"
Why did you choose a seed for your scarf? – Lucian (9 yrs old)
I love seeds. Seeds make me think if creation, potential, beginnings, light, ideas, sparks, patterns, history, nature, offerings, food, and the future. They are resilient, receptive and want nothing more than to exist! Sometimes seeds have to overcome big obstacles before they can germinate and grow. They might have to make a long journey, or wait dormant a few years for conditions to improve. I like to think of my ideas like little seeds that with the right nurturing (usually positive-thinking, time, hard-work, and good music), even if there are obstacles (like pandemics, or failed-experiments), can sprout to life and become something real and beautiful and strong.
What is the white shape in the picture? I’m curious.
The white shape in the picture is a few things. Firstly, it's a clay pot that I made out of porcelain. It is also a tribute to my friend Johnny (Smialek) who passed away last year. In it, I keep some of his ashes and some of his words and a few other keepsakes that remind me of him. So, I guess it’s also a kind of memory jar.
Johnny was an artist and one of his projects was inventing an alphabet for an imaginary language in the future. He wrote a story about two baby beings, a male and a female, sent into space in a pod to “emerge” in the future (kind of like a time capsule, or, if you think about it, like a seed). Floating in space, without any earthly connotations, without anyone but each other and their inner thoughts and feelings, Johnny imagined what kind of language would they develop to communicate?He created over 10,000 letters for the alphabet and was exploring what the language might sound like — his favourite idea was something like bird song.
When I made the pot in the picture, I pressed the letters of his alphabet in the clay and then cut them out. Then I layered them to form the seed shape - kind of like a pine cone. I loosely followed a mathematical pattern from nature that you can see hiding in lots of things like flowers, shells, trees, and seeds! It’s called the Fibonacci sequence and it reminds me that Nature is a really good designer! Thinking about Nature’s patterns makes it easier for me to accept the death of my friend. So, the white thing in the picture is also a seed and a story, and a space-pod, and a kind of talisman for healing my own grief.
Sarah Foelske
Sara Foelske
"Keep Going"
Our first contribution to this collective expression was Sarah Foelske’s ‘Keep Going’ assemblage which embodies the essence of this collective expression. Her words and image buoyed all of us despite unpredictable pandemic challenges and gave us the wisdom we needed in the chaos and layers of things. The ‘Sovereign/ties’ logo was also designed by her (aka Make Nice design). We love that the ‘ie’ happens to stand alone, implying ’that is’ the collective intention is shared via the innate sovereign power of each artist's expression.
"I am committed to making something every day. I want to remind the individual who wears or hangs this scarf to "KEEP GOING" and to keep making. There are beautiful things coming out of this time in history and wearing this scarf or hanging it on your wall should be a reminder that, 'Everything will be ok in the end. If it’s not ok, it’s not the end (John Lennon).' " – Sarah Foelske
Special thanks to Foundher Productions for assistance with video.
Gratitude to Leelee Design for graphic design and online sales support.