Nancy G. Cook – Seed Play

Echoes of Tulips Summer, 36 x 36 inches, ©Nancy G. Cook

Nancy Cook is a North Carolina artist whose work I first became aware of a couple of years ago when I saw her piece in the SAQA 20th Anniversary Trunk Show. Titled Ankle Twister II (photo here), it was a tiny gem of a quilt that captured my attention in a big way. Nancy has been working with the quilt medium for 16 years, but she has really found a unique voice with her Seed Play series. She invites us to take a closer look at the exquisite details of seeds, pods, and fruits, whose subtler color is often overlooked in favor of the plant’s showier flower, but whose form is just as interesting if not more so. Nancy’s reverence for nature is evident in her lively composition, ethereal colors, and mesmerizing quilting lines.

Echoes of Tulips Summerdetail

The focal point of this quilt is the seed pod of the Tulip Poplar. Nancy says,

[It] shatters as the birds feed upon it. It will also hold some of the seeds from one year to the next. So you can find buds, flowers, this year’s seed pods, and last year’s seed pods on the tree all at the same time. The little seed stitches on the spike of the pod are where seeds have already fallen off the pod.”

Nancy left her career in organizational development and psychology to become a full-time artist in 2001. With more time to concentrate on her work, she was able to focus on her love of the outdoors in combination with her art. She says,

“I find the interconnected web of life to be endlessly fascinating, and I like working with one small piece of it to unravel some of the wonders. Recently, I have been working on a series that features tree seeds as symbols of the gifts that come with life’s maturity. I learned that my work was autobiographical when I noticed that I was creating autumnal images at the same time that I was aware that I came to my art in the autumn of my life. Fortunately, it seems to be a Southern autumn that is prolonged.”

Kousa: A New Dogwood in Town, 36 x 36 inches, ©Nancy G. Cook

Nancy’s heightened awareness of issues concerning nature and trees is a frequent source of inspiration for her work. Kousa: A New Dogwood in Town was inspired by the passing of one species in decline while another takes its place. She says, “Our native dogwood is succumbing to a viral infection across the country. In its place, the Asian Kousa Dogwood is being grown as it is resistant to the infection.”


Mockingbird’s Larder36 x 36 inches, ©Nancy G. Cook

“Mockingbird’s Larder is a deciduous holly. The Mockingbird carefully guards a food tree like this throughout the winter until either the Cedar Waxwings or the Robins descend in large numbers and strip off the berries and move on.”

Mockingbird’s Larderdetail

There are several things about this piece that I find intriguing. First, I love the way the darker areas of the hand-dyed background fabric echo the character of the tree branches, bringing a strong unity to the work. Second, Nancy has added depth and dimension by using hand embroidery to create the finishing details. And finally, in an unexpected and lovely master stroke, she has engaged the viewer by leaving some of the berry shapes unpainted, indicated only by quilting lines.

Nancy’s career is really taking off this year. She will have no fewer than three solo exhibitions and a featured artist exhibit in botanical garden and art center galleries over the next 12 months. She has also been selected as a featured artist in  Art Quilt Portfolio: The Natural World by Martha Sielman, to be published in 2012.

You can learn more about Nancy and see more of her work on her web site, and keep up with her work and exhibitions on her blog.

February 9th, 2011|Interesting Artists|Comments Off on Nancy G. Cook – Seed Play

Patchwork Professional article

My work is featured in this month’s issue of Patchwork Professional, a beautiful publication from Germany. The small image left center is mine, a detail of Reflections (full image below). I wonder if my high-school German will be adequate to the task of reading the articles? Hmm, probably not.

The gorgeous quilt on the right is Seaside Town by Alicia Merrett, part of her Mapping and Recording series in which she interprets landscape from a bird’s eye view. Alicia says, “I explore colour from a variety of sources – the urban and natural environment, mapping, literature, music, the world around us – and reflect it in the textiles that are my passion.” Visit her web site for more luscious color and line work.

Reflections, 38 x 92 (diptych), ©2008 Deidre Adams (click image for larger view)

Thoughts on “meaning”

Theoretical Density, 24 x 36 inches, acrylic on canvas, ©2010 Deidre Adams

Even with a rather full plate of graphic design work in the past couple of weeks, I’ve been very focused on getting some paintings done. I’ve settled into a routine: Wake up, go into the studio and contemplate what I did the day before, then put on some more layers. Then, while those are drying, go downstairs, get my coffee & cereal, and do design work for a few hours. Then maybe exercise on those days I’m not successful in talking myself out of it, and then after lunch, reward myself with studio time. The paradox for me is that the busier I am, the more I’m able to concentrate in the studio. If I have nothing much else going on, I tend to procrastinate and waste time on the computer instead of staying focused.

I’ve been feeling energized and excited about my work. I have lots of new paintings that I’ll be posting in the coming weeks. Now that I’m out of school, I’m momentarily free of being forced to say what my work is about, and this is liberating. I can just do whatever I like, continuing to explore and discover new things about how the paints and mediums and tools work, developing an intimate understanding of what it is I like to see in my own work in regard to form and process.

Theoretical Density (detail), ©2010 Deidre Adams

However, I belong to a Yahoo group of artists where the topic of meaning in art seems to recur on a regular basis. There are always those who say adamantly that a work of art has to have some kind of meaning, or it’s not truly art. I don’t agree with this myself, at least not in the sense that I think it’s intended. For me, a visceral response to a work of art comes primarily through my physical experience of it, and for purposes of simplicity, I’m going to say that’s visual, since that’s the kind of art I work with. If I don’t find myself engaging with a painting or an art quilt or a sculpture on a visual level, then the meaning behind it is automatically rendered irrelevant for me.

Of course, everyone experiences art differently, and this can be very personal for some. I’m curious to know what you think about this. If you disagree, please tell me. (By the way, Robert Genn of The Painter’s Keys wrote an interesting take on this in his newsletter, under the topic “The Bigger Questions.”)

I have a lot of ideas that go through my mind when I’m working. I’ve been reading and thinking about various aspects of physics, biology, and linguistics. There are lots of possibilities for context. Is it important to you as the viewer to know specifically what I had in mind when you see one of my paintings? Or can you be satisfied to experience it on a visual level, free to make your own associations?

December 18th, 2010|Art|11 Comments