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| Paige French |
With experience in
everything from photography to ceramics and, of course, textiles, Paige French
brings an unique approach to art. French will be leading a four-part series of
studio-based courses at the Georgia Museum of Art that will explore weaving and
fiber arts through various techniques and materials. The class is open to
artists of all levels.
We spoke with French
this week to learn more about the upcoming workshop and her own works as an
artist, and we were met with both answers and engaging stories.
How did you come to work with textiles as an artist?
I taught myself how to sew. I would steal my mom’s
sewing machine, because when I was 13 I realized clothes didn’t fit me, but all
these other girls, their clothes fit them. I ruined a lot of clothing, which my
mom was not happy about, but that started my interest in seamstress work and
design. I think there are principles across so many art forms like composition,
color theory and the rule of thirds that can even be applied to fashion. The
concept of how things present based on what textures are combined and what
colors are used, all of those things are relevant no matter what media you’re
working within.
Paige has continued to
sew, weave and interact with textiles throughout her life. These interests are
often incorporated into her commercial and personal work such as shoots she has
done for books on interior design. Paige has also featured her textile works
over the years on her early professional blogs, at her own home and on more
modern platforms such as Instagram. As she has said herself, some artistic
concepts transcend all types of art. The care and manner in which she brings
her art into the world suggests that her works are not limited by context.
How does a visit to the museum inspire your work?
I am incredibly floored, entering into a museum is
like a spiritual experience. Especially at the Georgia Museum of Art because of
the way it’s designed, with the outdoor patio and sculpture garden, it really
does invite you in. It’s so sparse and minimal, which allows you to have a
really powerful interaction with the pieces.
Is there a particular Georgia Museum of Art exhibit
that has evoked this feeling for you?
I remember I was invited to photograph the Ann
Bonfoey Taylor exhibit at the museum in 2013. Having the opportunity to come
into the museum and photograph these artifacts — artifacts in the sense of
lives lived and time spent rather than physical age — was huge for me because
of the work that I’m doing. In the context of this digital age, it can seem
like I put [what I create] out there and “poof,” it’s gone. But that
exhibit helped me to realize no, it’s actually lasting and it matters.
What can people look forward to doing and learning in
this workshop?
The first day is going to be personal introductions,
going up and observing the works and then talking about how we’ll be studying
circular and rectangular compositions. The second day, participants will be
making sketches of what we want to bring to life; weaving based on paintings,
sculptures or whatever else is on display or that we look at from the archives.
From there, participants will learn basic weaving knots and stitches, and begin
to create their pieces throughout the rest of the workshop.
The workshop is supposed to draw inspiration from museum
pieces on display and in the archives; what is your favorite (or a few
favorites) of what you’ve pulled for the students?
The specific pieces are
still to be determined, but Paige states there will likely be an emphasis on
abstracts.
One of my goals with looking at pulled works and at
the current MFA exhibit will be to see those concepts of color theory,
composition and texture. Really just honing the students’ eyes to what is
applicable across so many different formats of art. That’s my ideal; I want to
introduce them to the fact that you can do this.
What sort of ways do you see these pieces inspiring
the class?
The students will be making sketches of the exhibits
to find out what they want to bring to life in the weavings they will make
later in the class.
Paige plans to show
students how to recognize patterns and themes in any kind of art, and to use
those elements in works, specifically textile works, of their own. In the past,
she has taught a number of workshops on everything from weaving to cyanotypes
with students of all ages. Often, those classes also began with looking at art
or art books to inspire students. She explained her reasoning for me, showing
just how important this component is in terms of creating art:
“Let’s look at these [art books],
spend some time with them and then
make notes about what stands out. What is compelling to you, and why? If you
could make any type of art in the world, what would it look like and how would
you get to that point?” I kind of just asked them to open up the books and
their selves with the firm belief that “Hey, I believe you have the potential
to create art just as much as any other human being.”
“Studio Workshop: Fiber
Arts” with Paige French begins May 3. The cost of the course is a $15 materials
fee, which will cover all necessary supplies for all sessions (May 3, 10, 17
and 24). Call 706.542.8863 or email callan@uga.edu to register. Limited to 15
participants.
--
Savannah Guenthner
Intern,
Department of Communications
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