Heart & Hand: Thank You!

Thank you to the talented artisans and enthusiastic visitors who took part in Heart & Hand Festival, 2011. We had a wonderful day with you!
Stay tuned for pictures and video of the event.

Heart & Hand: Phil Elsworthy plays his fiddle

Lots of exciting things happening down here at the Heart & Hand Festival today.
Phil Elsworhty plays one of his hand crafted fiddles.



Heart & Hand Festival at Joseph Schneider Haus, 466 Queens St. S. Kitchener - until 5 p.m.!

Heart & Hand: Today is the Day!

It is a beautiful morning at the Joseph Schneider Haus for the Heart & Hand Festival 2011.
We look forward to seeing you!  Here is a sneak peak...


Fred the Blacksmith has arrived with his tools




The tents are set up and artisans are arriving.



The Wash House table awaits you!

The Wash House is ready for visitors to come and sample the home made soup prepared by Culinary Historian, Liz Driver.

There is a craft tent for the kids, storytelling and many treasures to bring home with you.  Get that Christmas shopping done early!


Heart & Hand Festival 2011, Joseph Schneider Haus, 466 Queen St. S., Kitchener.
519 742 7752

Heart &Hand: Al Forler - Decorative Wildfowl Carver

Al Forler is a decorative wildfowl carver and an award winning one at that! He has brought home ribbons form many competitions including the Canadian National Wildfowl Carving Competition. Al was the Folk Artist-in-Residence at Joseph Schneider Haus in 2004 and he sits down with us today to tell us about is art, how it's done and its origins



Don't forget to say hello to Al and his feathered friends at the Heart & Hand Festival, Saturday, Sept. 24th at Joseph Schneider Haus, 466 Queen St. S. Kitchener.

Heart & Hand: Gourd Carving with Karen Cheeseman

Karen brings the garden into the studio as she creates beautiful designs and decorations on gourds. Gourd decoration, and pyrography, is an ancient tradition in Africa and Asia as well as among the indigenous peoples of the Americas, notably the central highland people of Peru, the Navajo, Hopi and Pueblo nations of the American Southwest, and the Nuxálk and Haida nations of British Columbia.  We ask Karen how she got her start and what she has planned next for the gourds in her garden.

1. How did you get started with gourd carving.

My husband grew the first gourds many years ago and I had to figure out what exactly the possibilities were. After lots of research, I just started experimenting with them. I started with pyrography, then tried various carving techniques, then on to fibre-art techniques of dyeing and resists. Now I do one or two, or sometimes all three methods, on my gourds. In the fall I occasionally carve some green gourds.

2. What types of objects and images do you create with the gourds?

My pieces range from fun birdhouses and feeders to gourd vessels and dangling creatures with intricate images and designs. I am strongly influenced by architecture, my rural surroundings and my graphic arts background. I am particularly fascinated with lines and positive/negative space.

3. Do you grow your own gourds?  Are there special gourds used specifically for carving?

My husband, the gardener, grows all of the gourds that I use. We harvest them in the fall and they sit out on the deck for the winter to dry. In the spring they are ready to be cleaned and used. There are lots and lots of different gourds to be grown. We grow birdhouse gourds as they have nice shapes and seem to be suited to our Canadian climate. I think you could probably carve any type.

4. What is next for you and your art? Any big projects in mind?

Now that's a big question... I'm always experimenting with different mediums and techniques. I've been working on more resist techniques lately... maybe some new dancing gourd creatures...

Fiddleheads, carved and dyed

Don't forget to say hello to Karen at the Heart & Hand Festival, Saturday, Sept. 24 at Joseph Schneider Haus, 466 Queen St. S., Kitchener.

Heart & Hand: Once Upon A Tree, Wood Turning with Trevor Ewert

Trees have many stories to tell and things to be made into!  Today we have another instalment in our series on wood carving.  Trevor Ewert explains the process of wood turning and how he helps trees tell their story. 

1. What is the significance of the name of your shop, "Once Upon a Tree"?

The name "Once Upon A Tree" captures the essence of what I try to do in my woodworking; to create a piece that carries on the story of the materials from which it was made.  Many of my bowls and vessels feature a "live" or natural edge with the bark of the tree intact.  This combined with a highly polished and refined surface tell the story of the transformation from tree to art work. 

2. How do you decide what piece of wood to use and how to begin your work?

I try to seek out the most interesting specimens to turn and these tend most often to be burls (tumorous growths on the trunk of the tree).  Inside of a burl the wood can have the most interesting colours and patterns and the grain will show curl and birdseye - quite unlike the rest of the tree on which it grew. 

3. How long does it take to create a piece from start to finish?

I tend to start turning when the wood is freshly cut and the moisture content is high.  Sometimes there is a spray of water coming off of the lathe while the wood is spinning!  After a rough shape is achieved, I air dry the bowl for six months or more until it is stable enough to finish.  There is a lot of chisel work at this point to refine the shape and then hours of ponderous sanding to perfect the surface.  The bowl is then oiled and buffed until a highly polished surface is achieved.  

4. What's next?  Any big plans in the works?

Craft sale season is now starting and I have quite a few that I am doing this year: the Central Art Walk in Kitchener, Artworks at Bingeman's, Cranberry Market in Guelph, Plaid Tidings in Toronto, and the Christkindl Market in Kitchener are a few that I will be exhibiting at.

Heart & Hand: What is Wood Engraving, Wesley Bates?

There are many different types of wood carving.  In the last blog post we learned all about chip carving with Peter Findlay.  Today we ask Wesley Bates, renowned wood engraver, to tell us all about his art form, its applications, and how he got his start as a wood engraver.

Wesley Bates hard at work.

1. How did you start with wood engraving? 
I was given my first set of engraving tools as a Christmas present in 1980 or so. Before that I had no idea what wood engraving was. I lived in Hamilton at the time and went to McMaster University Library and looked Wood Engraving up. I found a shelf of books related to the topic and through trial and error and comparison with examples in those books managed to get a feel for the medium. I was very interested in the British engravers, Joan Hassall, Gwen Raverat, and the German/American engraver Fritz Eichenberg in my early days.  

Engraving table: engraved block, engraving tools and proofs

2. What is involved in creating a wood engraving?  Can you explain your process for us a little bit?

Roots To Earth - "The Buildings" by Wesley Bates

Wood Engraving is a relief printing medium related to lino cut and wood cut. Wood Engraving is done on the end grain surface of the wood unlike wood cut which is done on the side grain. When a line is engraved a ribbon of wood is removed thereby lowering that line from the original surface of the end grain block.  After all the engraved lines are completed then ink is applied to the "relief" surface of the block (the part of the block not engraved) and then paper is press against the ink/engraved block and the result is a print. 

3. What has been your most exciting project to work on?

In 1997 I engraved eight images to accompany eight poems by the American writer Wendell Berry. I published the poems and engravings in a portfolio entitled ROOTS TO THE EARTH under my own imprint, West Meadow Press, with the generous help of Will Rueter of Aliquando Press. That project was my introduction to Wendell Berry himself and to Gray Zeitz at Larkspur Press in Monterey Kentucky. It has turned into a 15 year relationship during which time I have worked with Gray and Wendell on five books        and several broadsides. 

4. What's next?

At present I am working on a wordless graphic novel. It is a very large project and is already three years in the preparations.  In addition to that I have several commissioned engraving projects that I am working on. 


Visit Welsey's website and Facebook page for more info and pictures. Don't forget to say hello on Saturday, Sept. 24 at the Heart and Hand Festival at Joseph Schneider Haus! 

Heart & Hand: Chip Carving with Peter Findlay

Chip carving, or Kerbschnitt in German, is a style of wood carving that uses knives and chisels to remove small chips in a single piece, to create geometrical designs.

Chip carver, Peter Findlay, joins us on the Joseph Schneider Haus porch to demonstrate and explain his technique and art. 

Don't forget to say hello to Peter at the Heart & Hand Festival, Saturday, Sept. 24 at Joseph Schneider Haus, 466 Queen St. S., Kitchener

Heart & Hand: Geography and History with Doll Maker Janet Hannam

1. How would you describe your work?

My work is very "close to the heart" and very anthropomorphic because of it.  I find that everyone, no matter what age or gender, are surprised at how quickly they find interest and smile because they recognize themselves.  I use a lot of found materials and objects, sparkle and sequins. (I am a magpie.)  



"Loon" from Gifts of the North



2. You live in Thunder Bay, how has geography influenced your art?

Geography has influenced me a great deal! We moved from Kitchener 23 years ago.  I found a community rich in heritage and history that is one generation forward form the 1856 of JSH as the next wave of settlers came deeper into Canada's center. Many different cultures and ethnic groups, because of distance and weather, share the best of each other and the rich First Nations and Métis culture gives us a view of the land that goes back before time and has no European roots. I have completed a major body of work entitled "The Gifts of the North."  It was a four year effort supported by a grant from OAC and it speaks of the many, many facets of the best of living in one of the most unknown part of Canada. It is touring southern Ontario as an ambassador of the north (OAC touring grant), and is now scheduling into 2013.  

"Boreal" from Gifts of the North

3. What is next for you?  Do you have any big projects in the works?

My next big projects include Punch and Judy shows in my studio window for the general public, some teaching of miniatures, teaching basic skills such as hand embroidery, filling my Etsy store (Ready To Pretend) and working on a collection of 12 anthropomorphic chicken sculptures (pin up poses, great breasts and great legs) for a calendar in support of women's issues here in the north. I also want time to bring to life a few creatures that have been waiting for a great while. All in all I am thrilled to be coming home to JSH, although I still feel I have never left.

Don't forget to say hello to Janet at the Heart & Hand Festival, Saturday, Sept. 24 at Joseph Schneider Haus, 466 Queen St. S., Kitchener

Heart & Hand: Book Binding with Marlene Pomeroy

Marlene Pomeroy is the Joseph Schneider Haus Folk Artist-in-Residence for 2011.  We ask here afew questions about book binding and its importance today.

You can judge this book by it's cover!

1. What inspired you to begin building books?

I took a binding class that ignited my passion for books. I was a calligrapher with many years of visual arts behind me. The "book" is a way to incorporate all the arts into a wonderful, enduring housing.  



Marlene's take on the "E" book 



2. Is the art of bookbinding still important or should we just use e-readers and read our books online?



The art of bookbinding is even more important now than ever. People need a place to slow down and depart from their work a day mode of technology. There is no replacement for the tactile feel of the paper and leather between your fingers. The books covers appeal to our eyes and invite us to escape into a different world.    

3.  What is next? Any big projects in the works?

There are many planned projects ahead. A collaborative work of limited editions is in the planning stages and commissions are always waiting to be finished.  I am also working on a new teaching space to be ready late fall.

Marlene's The Book from Flax to Finish workshop is running Sept. 24 & 25 so drop in, ask questions and get inspired. Call  519-742-7752 to register. Visit Marlene's blog Inspired discovery

Heart & Hand: In the Studio with Potter, Jan Bentley



Polar Bear



Potters have been shaping clay into decorative objects and vessels for thousands of years.  The earliest decorative figures, found in what is now the Czech Republic, date from c. 25, 000 BCE!



Santa



Potter, Jan Bentley, invites us into the Polar Pottery Studio and demonstrates how she creates her beautiful bird figures and decorative Santas out of clay.



Crow



Heart & Hand: This Flyer is Really a Box!

The Heart and Hand Festival Flyer is really a paper box! 
Pick up your flyer today at Joseph Schneider Haus, 466 Queen St. S, Kitchener. 
Watch the video and follow the instructions to make your own paper box.

Heart & Hand: Fibre arts with Wendo Van Essen

Midwinter Sunrise

Wendo Van Essen works with fibres, cashmere, wool and mohair, bringing to life a variety of interesting and fanciful creatures and creations.  We asked her a few questions about how she started working in the field of fibre art and what keeps her hooked.

What was your introduction to fibre arts and felting? 

I travelled around the world working in animation and while I was in Berlin, Germany, I discovered there is a huge Mongolian refugee population there and since they are credited with the beginnings of felt making 5000 years ago, there is a lot of felt work in galleries there.  When I came home, I took a one week felt making course at the Mississippi Mills School of the Arts in Almonte, Ontario.  I became completely obsessed with felting, especially needle felting. 



What is it about working with fibres that is most appealing to you?

I've always worked with my hands...whenever I move to work on another animation project, I take local crafting courses: batik making in Thailand, silk thread work in Seoul, Korea, clay sculpting in Phoenix, AZ. As soon as I found needle felting and felt making, I was hooked.







Dragon Head Trophy

  

What inspires your creations? 

I love whimsy. I try to make creatures that make people smile or laugh out loud. I think my animation background has really helped me in the creation of my goofy animal head trophies...





"Buttons"

What's next for you, any projects in the works?

This is a very busy time for me...I do a craft show or workshop every weekend until Christmas so I go crazy making stock.  I'm also working on getting samples together for a chance at attending the Westminster Dog Show in NYC in February.  I do pet portraits and I'm really excited to think I may end up at one of the most famous dog shows in the world.



If I wanted to make felt art where should I start?

For one of my animal head trophy sculptures, I start with a wire armature.  I then wrap this in wool and gradually build up the bulk of the head with the felting needle, poking and compacting as I go.  As soon as I'm happy with the figure, I do the eyes.  They are the most important part of any portrait, be it a crazy zebra head or a gorgeous Persian cat.  This comes from my work in animation.  The eyes are what give a character life.


Come say hello to Wendo, Sept. 24, 2011 at Joseph Schneider Haus and join in the fun!
Visit Wendo online!

Watch the feature on Wendo from TVCogeco’s The Source.