Spotlight: Sandra Sider, Artist, Critic and Curator
A champion of the studio art quilt, Sandra Sider makes her own art while advancing the medium by writing books, teaching and curating exhibits. With her passion to “get it right”, she creates series of works to fully explore what inspires her.
Tell us a bit about you and what you do. How did you find yourself on a creative path?
I grew up in Appalachia, learning to make traditional quilts, which I did for several years. Upon moving to New York City in 1979, I became intrigued by the textile and fiber art on view, already having been exposed to studio art quilts a few years earlier with a NYC show titled The New American Quilt that got me thinking.
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How do you define “art quilt”?
I follow the SAQA definition:
ART QUILT: “a creative visual work that is layered and stitched or that references this form of stitched layered structure.”
When curating an exhibit or a collection for a book such as Art Quilts Unfolding: 50 Years of Innovation, what guides your thinking on which artists and pieces to include? How did you decide on the structure of the book?
Those are actually two very separate questions. The AQU book was a group effort, with different committee members suggesting different artists to include, and from the beginning, it seemed most logical to arrange the work chronologically. Exhibitions are curated for various purposes, which influence the choice of artists. My favorite approach is thematic, which viewers seem to enjoy.
What do you believe is the most overlooked element in creating a successful art quilt?
More thought should be put into how stitching can unify and excite the composition.
What draws you to a quilt that you want to add to your personal collection?
It has to be a quilt that I can look at every day and still find compelling, and my budget does not allow for expensive purchases.
Do you think that creativity comes naturally to people – or do you think creativity is a skill that people can learn?
Creativity is easier for some people than for others, but I do believe that everyone can become more creative. I write about this is my new book, Exploring Your Artistic Voice in Contemporary Quilt Art (available in January of 2020).
What are your earliest memories involving your own creative expression?
Does it sound odd if I say being in charge of decorating bulletin boards at my elementary school? I was one of the kids who finished assignments early, so was put to work designing the seasonal bulletin boards. (The teacher probably did that to get me out of her hair).
If you had the opportunity, what creative person, past or present, would you like to work with and why?
Louise Bourgeois, because her creativity knew no bounds—she made art in almost every medium.
What inspires you? Are there recurring themes in your work? Do you do series work? How does that affect your approach?
During the past 30 years, my chief impetus in beginning a new series of quilt art was to “get it right,” which usually takes eight to ten quilts. Then I am ready for something new. My series have included Women at Work & Play, On the Road, Garden Grid, and Past Present (the current series). I work in both abstract and representational modes, usually with cyanotype or photo transfer.
What do you do differently? What is your signature that makes your work stand out as yours?
In the past decade, I have been doing more hand embroidery as the actual quilting, which causes interesting texture as the quilt progresses. In 2018, I learned how to do free-motion quilting and bought a Juki sewing machine to develop that skill. I am toying with the idea of layering embroidery over free-motion stitching in my next piece.
There are various ways to print images on fabric. What is it about the cyanotype process intrigues you?
Blue is my favorite color—but of course cyanotype can be printed in many colors, depending on the colors of the fabrics. Cyanotype (which means “blue print”) is one of the oldest and less toxic ways to imbue a piece of fabric or paper with permanent color.
Also, I feel a historic connection with Anna Atkins, an English woman who published images in the mid-19th century of sun-printed cyanotypes depicting photograms of algae and other plants. Photograms (actual objects directly printed) are magical to me, with the sunlight almost caressing the object being printed. Finally, dealing with cyanotype being applied to large pieces of fabric can now be done commercially. I have used the company Blueprints on Fabric for many years.
When you begin to create, do you visualize the finished piece? Or does the work evolve?
I usually have a general idea of what I want to accomplish, but sometimes the unpredictable nature of sun-printing results in fortuitous surprises that change my direction.
Do you critique your own work? What is your process?
I don’t, I just do it. And I feel that no artist can successfully self-critique. Sometimes I ask my husband what he thinks, but I am as likely as not to ignore what he says.
How does your studio organization contribute to your work process?
I am lucky to have a sink in a large studio with a storage closet for artwork and a small room off the studio to store materials and books. My sewing machine is in one corner, situated so that I do not have to look at my computer while sewing. I can look out a window. The computer is in the studio, but with its own workstation, separate from the art area. I have two largish tables pushed together for working on my quilts, and my largest art quilts since setting up the studio in 1995 have been about the size of those two tabletops.
What is your favorite lesser-known tool for your trade?
In my cyanotype quilts I have printed bicycle wheels, pulleys, a kitchen chair, rope, kitchen implements, chandelier pendants, an ashtray, a dead bird, and more. For surface treatment, I have used a timbale iron that prints a stylized floral motif. Now that I am reminded about that, maybe I’ll use it again.
Have you taken something designed for another use and repurposed it for your studio?
Not that I can recall.
How often do you start a new project? Do you work actively on more than one project at a time?
I prefer to work on one quilt at a time, but occasionally I am pushing against a deadline for an invitational piece and have to put something else aside.
Do you lecture or teach workshops? How can students/organizers get in touch with you to schedule an event?
I am now teaching History of Textiles in the MFA Textiles program at Parsons School of Design in New York. I no longer offer studio workshops. My web site (sandrasider.com) has information about critique workshops and lecturing. Today I am more interested in presentations associated with conferences, such as QuiltCon and SAQA meetings.
What’s next for you?
My hope is to spend less time traveling and more time in my studio. I’m still challenged by working with vintage quilt tops treated with cyanotype, but would also like to experiment more with whole-cloth cyanotype art quilts.
Interview published November, 2019.
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