1. Candace Kling, the subject of my Tuesday post, has a wonderful studio with plenty of room to spread out works-in-progress and storage for supplies, tools, and everything else. It’s a shared warehouse space with a surface design artist/art professor, a print maker, and a fashion designer.
2. Candace is wonderfully organized in the best-possible, non-anal way. Shelves display labeled boxes filled with wondrous flowery and ribbony treasures; a re-purposed set of map drawers in her primary work area holds her most useful supplies and tools; and file drawers stock class curricula and other material for her life as a working artist. The atmosphere is hip-creative and yet not precious or overwrought with “studio” design.
3. She’s well connected. After 30 years in pursuit of her craft, she’s got ties with a huge community of artists, collectors, crafters, collaborators, curators, peers, students, suppliers, and so forth. There’s a lot of activity in her orbit–a vintage hat discovery by a friend in an L.A. resale shop could be the start of a new exploration.
4. Relatedly, Candace knows her way through private and museum costume collections. Much of her work and teaching derives from close-up study of these garments. Her detailed analysis and documentation preserves our understanding of historic clothing and our appreciation of antique workmanship.
5. Speaking of learning from vintage goods, she has an incredibly precise eye when she examines these fragile wares and has developed a variety of hands-off techniques for measurement. Often all she can use is a piece of thread for determining the dimensions of each element she’s studying. Her academic background in figure drawing and garment design/construction certainly honed her skills and raised her comfort level, and gave her the confidence to tackle even an 18th-century gown at the Metropolitan Museum of Art in New York City.
6. Candace has a sublime resource library of ribbon, stamens, leaves, etc. A good portion of her stock is vintage goods culled from her finds and purchases from collectors. The new materials come from specialty shops and online stores. Everything is sorted, categorized, and labeled. And she’ll also custom make some of the elements, like stamens, when she needs a particular color or shape.
7. All told, she takes a fine-arts approach to her work, which is very thoughtfully composed, almost as though she’s painting a portrait or still life. There’s great deliberation in placement, proportion, size, depth, and shadowing.
8. Candace goes to extremes. Really? Yes! Most of her work can fit in the palm of a hand, but she’s been known to blow the roof off fine-art installations. Her sculpture, Massacre at Bridal Veil Falls, is 17 feet tall. Countless yards of hand-pleated and pressed sateen wrap a constructed plinth and cascade across the floor in sculpted, undulating waves.
9. She has all the material, research, and images for a new book . . .
10. Meeting her changed me. (No, I’m not a vampire now, Twilight fans.) I’m about to turn my dimensional applique process on its head by paying much more attention to how I use fabric on the bias and straight of grain when building my flowers. Using a bias-cut pattern piece on the back side and a straight-grained piece on the front will enhance my ability to sculpt my flowers–I guess I should’ve paid more attention in Home Ec.
Oh yes, the giveaway of a copy of The Artful Ribbon . . . did you read my reply to yesterday’s comments? Candace Kling has bestowed 2 autographed copies on me for the giveaway. And so, without further ado the winners are Pam S. and Laura Tawney! Congratulations, you’ve won a fantastic book!
I will now repair to my small, uncool studio/laundry room to work on flowers ala Candace Kling . . . later crafters, quilters, and sewists!