What People Are Saying About Penny

"I like to think of you as a high priced call girl that the unwashed masses can't afford--like Woody Allen's Whore of Mensa. It's not your fault that people offer $10 blowjobs on the street corner. It's not an insult if somebody doesn't buy your art." -Alexandra J Walters

"Once Penny was making her own silk thread, and a midget appeared. Before he could open his ugly mouth, without looking up, she exclaimed, 'Rumpelstiltskin. Now get the fuck out of here.' Fairytale Over."- Beth Featherstone

"Penny can push a needle through a telephone pole without a thimble." -Shane Blaufuss

"When a man asked Penny, 'What’s the meaning of life?' She looked at him for exactly 3 minutes, completely still, until he cried. That man’s name was Steve Jobs."- Beth Featherstone

"A demon from the pits of bitch cunt." -W.C. Hurst

Wednesday, January 27, 2010

Lost Interview With MANBROIDERY Founder, Johnny Murder!

Where did it go?
Well, great news! We received an email from
Living Creatively, and they let us know they are not down and out, only making some changes to their web site! This is exciting news, because their site was (will be) beautiful, thorough, and filled with insights and interviews into craft, art and Living Creatively!
So we're going to keep an eye out, and I'll be sure to let you guys know when they're back up and running!

Monday, January 25, 2010

THIS IS HOW WE DO IT

Johnny Murder and I were guests on Emergency Pants!
Mostly we just giggle and high five. Thanks to Bridget and Shane for letting us come over and play!

Look! We're on the Tee Vee!

I need help!

I have a question for those of you that spin AND weave- I want to weave with some BFL singles I spun, they're not over spun, and I set the twist with the hot bath, wack the skein method. But because they are singles, they'll always be energized, right? How will these effect my final product? Will they bias like with knitting at the first touch of humidity? Thanks!

Wednesday, January 20, 2010

Faster Kittykill Interview!

Sweet Pam over at Faster Kittykill! Blog! Blog! gave me an opportunity to shoot my crazy mouth off by interviewing me! So hop on over there and check it out! Also, spend some time poking around afterwards to find everything from hangover remedies, awesome art, and precious dogs!
Click HERE

Monday, January 18, 2010

Slap Chop!

I love this. I can't even talk about how much I love this.
Slap Chop stitch

If you don't know who Bridget is, well, this next piece will explain it better than I could.
(f)artist

She's like the Emma Peel to Jamie's John Steed if Mr. X Stitch was The Avengers. And she co-hosts the only podcast that Johnny and I listen to. Laughing is fun! So click the links above and check out Emergency Pants and you can buy patterns from her here!

Friday, January 8, 2010

Tod Hensley Flying Haystacks Embroidery!

Tod Hensley, the mastermind behind Flying Haystacks Embroidery, was kind enough to let me interview him about his work! Now, I love all the interviews I've done, they're all insightful and special, but the way he answered the last question made me snarf my coffee. Be warned.


Tell me about your background as an artist. (I see you studied fine art)

I always drew since I can remember. It was like second nature to me. Then it became the only thing I did, or tried to do, the only thing I did that made me feel like I wasn't wasting time, and the only thing that was 'mine'. I still feel that way now.

Anyhow, I ended up studying 'fine art' painting in college. Over the years I have worked in different mediums, including 8mm film, collage, and an art zine (artist publication). After the zine was over embroidery came along.

How long have you been exploring fiber arts? What prompted you to try embroidery?

About 2 years.

I was making small collages but I was having problems finishing them. I liked part of one and part of another. So, I stitched the parts I liked together. I had done this before on a couple of occasions on larger pieces using colored string. I'm not exactly sure where I got that idea. Anyhow, the stitches became marks of themselves and eventually became shapes, then the thread eventually dominated into the full form.

Tell me about your style.

I tend to favor rough, expressionistic marks. With stitches I can easily make shapes and forms that are 'crude' looking. But at the same time they can look beautiful, like a mosaic.

I approach each embroidery like a painting. The stitches are like brushstrokes.

But stitching is 'do or die'. I don't take a stitch out once I've made it, and you can only stitch on top of another stitch once, maybe twice. That has a big affect on my approach and technique.

Right now I use only one type of stitch that I know of, I think its called the 'back stitch' or 'scallop' stitch. I taught myself so I don't really know. Someone told me I use a lot of different types of stitches but I don't really think about naming them.

I like to mix different types of threads (plain, metallic, multi-colored, silk, etc.) because they all have different textures and all together they give a certain 'multi- layered' look to the surface. And it keeps things fresh while I am working.


Do you sketch out your pieces first or stitch and see where it takes you?

Both.

What themes are you drawn to and why?

I grew up on a diet of comic art, cartoons and fantasy illustration, the more obscure the better. That has stayed with me to some extent. I also gravitate towards surrealistic, religious and mythological imagery. I always liked creating and looking at 'life forms' that are not human, that exist only in the fantasy world of the imagination, or are representations of human feelings perhaps. But I also like human anatomy, science book illustration, some decorative arts and also abstraction and I mix everything up.

The interesting thing about religious art is that it represents something that supposedly does exist, if you buy into the particular belief system. Recently I've been looking at my embroideries as if they are incarnations of some kind of spirits. I don't believe that they really are but it makes the process of creating more interesting. I think I expect too much out of creating, or art. I expect it to be more than what it really is. What I expect it to be I don't really know. I'm not telling a story. I just know that I want the forms to 'live' somehow. But I often don't want to know exactly why I'm doing it. If I know exactly why I'm doing it, or exactly what I want it to look like or to mean when I am finished, than there is no reason to do it. That approach also stifles creative thinking as well.

How does embroidery help explore that?

Well, as I stated above, the stitch marks help me create forms the way I like them to look. And, I find that it just helps me work. I always liked things that take a long time to make, things that are labor intensive. The process can be peaceful. I get into a 'zone' sometimes and the hours just fly by (which I hate), but it's better than feeling anxious, depressed, angry and confused which is how I feel most of the rest of the time.

I've also played with other explanations, like the spirit thing. I could say that I'm on some kind of continuous pilgrimage, or meditation which will, slowly, step by step, stitch by stitch, embroidery by embroidery, eventually lead me to the Grail, or Nirvana, or becoming one with the Cosmos. But then I can also just say that I make things because I think they look 'cool'.


How do people respond to your embroidery? For example, do you find that people view it as a craft rather than art? Are they surprised to find a man embroidering?

People are usually impressed with the detail and uniqueness. Some people definitely see it as art, to be framed and hung. Some I suppose think of it as a craft. One person thought they looked like patches to be sewn to a jacket. But most don't define it or me.

What other mediums do you work in?

Right now, none. I sew all the time.

Which other artists do you admire? How have they influenced your work?

Basquiat was a big influence. A lot of expressionists throughout the 20th century. Rauschenberg (I may have first gotten the idea of sewing two pieces of a collage together from his work). There are so many. I am always getting influenced. I like illustrations from really old books. An old, lavishly illustrated dictionary can be rich in inspiration. Recently I saw a James Ensor exhibit. I made an embroidery after that which borrowed heavily from his work - his brush strokes, content, it was also a self-portrait (he did many). I'm trying not to look at so many other artists.

What do you hope people take away from your art?

I hope they take away the actual art itself, in exchange for cash. And my contact information too.

A few people have said that it's inspiring. There really isn't anything better than one can do for another in this world than to have inspired them.

Check out Tod's esty store here- Flying Haystacks Embroidery

Also, check out the Facebook Page!


Thursday, January 7, 2010

Shisha Experiments

I'm too lazy to do my usual dissection of the pretentious meaning behind the piece, so if you're up to googling the titles, you'll probably figure it out fairly quickly. The only thing I'll add is that the titles of the triptych all have to do with triple deities in some convoluted way. It's probably not immediately obvious.
Anyway presenting Fetish Triptych: Cronus, Graeae, and Phorcydes
Fetish Triptych
Cronus
Graeae
Phorcydes

Hand embroidered on brown velvet with seeds, elk canine, and urchin. 4" across
I did the tooth first and became creeped out pretty quickly. Then I realized I may have accidently made a fetish. Whoops.