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From Your Co-Presidents -
Celeste and Leone

Greetings Surface Artists. 

Spring has sprung and with our record breaking rainfall our reservoirs are full, that includes our creativity reservoirs.  We are happy to report that our new digs work out great for our membership.  Just remember that google maps might steer your wrong.  When you exit the 101 Freeway go south and turn left on Moorpark, St. Francis De Sales School will be on your right, on Heartland. 
I am happy to announce our April workshop with Eileen Alber.  Eileen has been inspirational to many of our members.  She is the owner of The Quilters Studio in Newbury Park and the founder of Extreme Quilters, a select group of surface artists and art quilters.  Eileen will explain why soy wax batik is better and greener than previously used paraffin and beeswax.  I am looking forward to her trunk show presentation and participating in her workshop.  There is limited space in the workshop, so sign up early and secure your spot. 
Many thanks go to Cicely Gilman for organizing another field trip.  We will meet on on Saturday, April 15th, at the Hauser Worth & Schimmel Gallery in downtown LA. 901 East 3rd. Street Los Angles, Cal. 90013     phone 1(213) 943-1620 We will meet at 1:00 in the Lobby.
We will also discuss our next challenge at our April meeting.
Next Meeting is April 1st
Social starts at 9:30am
Meeting starts at 10am

 St Francis de Sales School
13368 Valleyheart Drive
Sherman Oaks, CA 91423
Between Moorpark and Ventura Blvd.
 (north and south)
Fulton and Woodman
(east and west )

Remaining 2017 Meeting Dates:
June 3
August 5
October 7
SAA Treasurer’s Report
Balance as of February 28, 2017
PayPal …….2629
Savings ……3266
Total of funds Available…..$7506
For the February Carrie Burckle workshop, SAA refunded $160 to members who canceled their attendance. Because the workshop was successful, SAA was still able to break even or better. However, not all workshops exceed the amount needed to break even. For all members benefit, SAA still presents the workshop.
2016 Board Members:
Celeste Covas

Leone Keegan
Vice President of Communications
Smadar Knobler

Barbara Weitekamp

Marie-Laure Ilie

Workshop and Speakers
Mary Beth Schwartzenberger

Newsletter Editor
Mia Bloom
(818) 359-0262
Mary Beth Schwartzenberger

Celeste Covas
Exhibition Committee
Smadar Knobler

Dassi Pintar

Linda Stone

Field Trips
Cicely Gilman

There has been confusion lately regarding registering for SAA workshops.  We are always striving to provide members and non-members with informative workshops at an affordable rate.  In order to achieve this goal, and to be considerate to the instructors, workshop attendees will adhere to the following rules.  Please review in order to understand the requirements.
Registration Guidelines
1.      Preregister for the workshop through our website, by either paying with PayPal or sending a check to the treasurer.  Registrations will close One Week prior to the workshop.  It is necessary to let the instructors have ample time to prepare their materials.
2.      We will not accept a registration for the workshop at the meeting.

Cancellation Policy
1.       Refunds will only be granted if you notify the Treasurer One Week prior to the workshop.
2.      Cancellations requested less than one week from a workshop will result in a forfeiture of payment.  Payments cannot be applied to future programs or “sold” to another member.

Batik Workshop with Eileen Alber

Eileen Alber of the Quilter's Studio will present a trunk show of her quilting work.  Eileen will then lead us through a workshop on batik in the afternoon. Eileen would like to limit participation to approximately 15 - so if you are interested, please register early to avoid disappointment.
Supply List

$20 Fee for supplies (wax and paints) will be collected by Eileen at the meeting.
• Fabric - Fat quarters of white PFD fabric OR pastel solids, hand-dyed or commercial . Fabrics that are NOT PFD or hand dyed should be washed with detergent in hot water and dried. Bring at least 10, more if you’re very ambitious. Whatever your fabric color is, it will be the color of the areas where soy was applied.

If you need PFD fabric, you can order fat quarters from me at $2 each in advance. I use only Hoffman Patina PFD fabric, the fabric they use for batiks. Call the shop to order at 805-480-3550 at least a week in advance.

We’ll be creating simple designs with found objects and some traditional batiking tools and use Dynaflow(TM) by Jacquard for our secondary over dye. This is a textile paint that works similar to a liquid dye but does not require all the processing.

• Tools- I will be sharing my personal tools.

*Creating Stamps (all of the following tools must be high enough to handle so
you don’t burn your fingers in the wax)

• You can cut your own vegetables, carrots for dots, the potato into a stamp, the
green pepper in half for a wiggley circle, celery into a “C”, and anything else
you can think of. Remember to bring a knife if you don’t cut these at home.

• Cut a corrugated box into 3” wide strips and make triangles, squares and
rectangles of various sizes using masking tape. You can make nesting stamps
of strips, 12”, 9”, 6” and 3” long, if you like.

• Cut wood into squares, cut a two-by-four into a rectangle

*Using other found objects and tools for batik

• Potato mashers, strawberry boxes, corks, anything with an interesting edge or
flat surface for stamping

• The tjanting tool

• Tjaps (pronounced “chops”), wood and copper

• Brushes for stripes or swaths of resist in circles or rectangles, or just brush
strokes. Don’t bring brushes that are dear to you or expensive, they become
dedicated to soy wax. Don’t forget to try all widths of brushes.

• Apron or wear old clothes

• Cheap bristle chip brushes from Home Depot for painting, 1” - 2” wide, please
do not bring foam brushes since they waste paint

• Scissors for cutting plastic bags, cardboard or snipping fabric for tearing

• Vinyl or plastic gloves

• Roll of paper towels

• Cheap aluminum tray to put your used batiking tools in, 9” X 12” or larger. The
soy wax doesn’t stick to it.

• If you own one, a 12” X 12” electric frying pan with a flat bottom that has
variable temperature dial to fine
April 15th Field Trip
Our next field trip will be on Saturday, April 15th at the Hauser Wirth & Schimmel Gallery in downtown Los Angeles.
901 East 3rd. Street
Los Angles, Cal. 90013
1 (213) 943-1620
There is a fabulous Jason Rhoads Installations exhibition up, and we are planning to meet at 1pm in the lobby. 

There is parking next to the gallery, it's pricey, but convenient, and arrange carpools everyone! 
The Gallery has a restaurant where we can relax afterwards. I am planning to have a tour guide to lead us around, I'm guessing starting about 1:30 pm.
Thank you,
Cicely Gilman

Bernice Colman and Earllene Weiss will participate in the Yarn Bombing Los Angeles installation, California Yarnscape, at the Autry Museum, curated by former SAA member Julie Kornblum.  The Autry Courtyard Rotunda will be covered with 36 yarnscapes of the ocean, desert, mountains, and more that were created by more than 50 knitters, crocheters, and fiber artists.   
Opening reception is Sunday March 19, 2-4 PM in the Autry Courtyard.  

Bernice Colman  Pacific Bay,                              Earllen Weiss "Fire in Azusa"
36x48, collaged knitted materials.                      (36'x48')
Marie-Laure Ilie has two of her artworks being shown in FRESH 2017, a group show juried by Fatemeh Burnes and Peter Frank, at South Bay Contemporary//SOLA Gallery, in downtown Los Angeles.
Exhibition Dates: March 4 through April 16 2017
Location: South Bay Contemporary // SOLA Gallery
Address: 3718 West Slauson Ave. L.A., CA 90043 - 
Phone: (310) 429-0973

“Deconstructed Knots”, 35”x26”x3”, (2016); paper, paper pulp, fiber, moulding rubber; pulp paper casting, painting, tearing, crumpling, assemblage. 
Marie-Laure's artwork “O Femme” is being exhibited in the group show:  DUALITY OF FEMININE AND FEMINIST, at Gallery 66 NY, NY. This exhibition tackles with the subject of feminine and feminist, of women portrayed as strong and/or feminine, endowed with the strengths of both genders, but threatened now by a backlash and a possible return to the stereotypical view of women as submissive and passive.

Exhibition Dates: March 3 through April 2 2017
Location: Gallery 66 NY
Address: 66 Main Street, Cold Spring, NY 10516
Phone: (845) 809-5838

“O Femme”, 43”x32”x4”, (2002); 4 layers, fabrics, found objects; painting, heat transfers, assemblage.

Marie-Laure wanted to share information and photos from an exhibit she attended at Cherry and Martin Gallery on S. La Cienaga Blvd. The show, which has closed, titled: “Support/Surface is Alive and Well”, in which a major avant-garde French group of the 60's and 70’s, “Support/Surface”, exhibited an ensemble of works that any fiber artist could easily mistake for a textile exhibition. But in fact, these visual artists were driven by the leftist political atmosphere and cultural theories in 1960s France, which at that time opened the way to many new experimental approaches in art-making. They broke away from traditional paintings, turned to non-representation, and emphasized the support and the action of the colors, regardless of the resulting effect. (quote from press-release):…”As the name would suggest, Supports/Surfaces artists included in this exhibition specifically oriented themselves towards the physical properties of the painting itself: stretcher and canvas, paint and paintbrush. André-Pierre Arnal, Marc Devade, Noël Dolla, Daniel Dezeuze, Jean-Michel Meurice, Bernard Pagès, Patrick Saytour and Claude Viallat took on the tools, materials and processes of painting in radical new ways to address the actions of maker and viewer alike.”

“Acrylic on Parasol” (1990)                                                                     “Assemblage” by Claude Viallat.
by Claude Viallat.
The artist likes to paint on rough odd-shaped
cloths weathered by time. He has used the shape
of a wet sponge soaked with paint as his printed
logo during all his life. Any of his works is
recognizable by this trademark shape, and by the
boldness of his colors.

“Sans Titre” (1973) by André-Pierre Arnal.                   “Torchon” (1967) by Noël Dolla.  He often paints on
The artist keeps experimenting in new ways,             fabrics, sheets, rags and tarlatan gauze.
and considers painting as a sort of writing.

Gallery View                                                       Gallery View
Sherry Davis Kleinman

Freeze Frame Exhibit on display at Visions Art Museum in San Diego (Liberty Station area) until April 2nd.  I am one of 6 featured figurative art quilters.
She will be flying to Cleveland mid March to film 3 segments for Quilting Arts TV.  The segments will be available to view later this year on PBS stations and for sale from QATV. More details to come…
Smadar Knobler

I’m very excited to be included in “SEEING GREEN” exhibition, sponsored by Arts Council of Conejo Valley, “The Voice of The Arts,”at the UBS building (address below).
UBS is open from 7 a.m., to 4 p.m. Monday through Friday.  

The reception will be exceptional.  It will be Thursday, May 18, from 5 p.m. to 7 p.m.


Ancient Bristlecone Pine - Alive                               C Leaf Art- Autumn Swirl
Mary Beth Schwartzenberger won a Honorable Mention for my work up at Yosemite - so pleased since fiber was up against oil, watercolor painters and photographers!
April 1 – May 6, 2017

Camarillo, CA - The Studio Channel Islands Blackboard Gallery is pleased to present California Fibers:Time from April 1 – May 6, 2017, with an opening reception on April 1st from 4-6 PM.

California Fibers:Time features the work of seventeen members of California Fibers - Linda Anderson, Charlotte Bird, Ashley Blalock, Carrie Burckle, Doshi, Gail Fraser, Polly Jacobs Giacchina, Lynne Hodgman, Chari Myers, Kathy Nida, Michael Rohde, Mary Beth Schwartzenberger, Rebecca Smith, Cameron Taylor-Brown, Lydia Tjioe Hall, Peggy Weidemann and Lori Zimmerman.

All works in the exhibit address the theme of “Time” as interpreted by each artist. For example, Linda Anderson describes her work Becoming as a rite of passage “marking a moment of maturation…and… two boys experiencing that moment in time.” Kathy Nida deals with “time’s increasing speed and its toll on living things as we age…” Peggy Weidemann views time as “much more than a clock…it is ever changing…and can live in our memories as well as the present and influence our future.” Mary Beth Schwartzenberger ‘s work Inscription places “our human experiences of today next to people from so long ago (as) a thoughtful reminder that we as humans are…more the same than different.” Lydia Tjioe Hall’s series One a Day began the year after her daughter was born. “Knowing that I would not have much time to work on larger pieces, I decided to work on small pieces that would add up to a larger installation in the end.”

A gallery walkthrough is scheduled on Thursday, April 6, at 5:30 PM with Michael Rohde, and a panel discussion with Carrie Burckle, Mary Beth Schwartzenberger, Cameron Taylor-Brown and Lori Zimmerman is planned for Saturday, April 22 at 1 PM.

California Fibers:Time will run through May 6, 2017. Artists will be present at the opening on April 1 from 4-6 PM. The Channel Islands Blackboard Gallery is located at 2222 East Ventura Blvd., Camarillo, CA 93010. Gallery hours are Tuesday – Friday from 11-5 PM and Saturday from 11-3 PM. For more information contact Katherine Cooksey, Gallery Director, at 805-383-1368 or at

Establishing a Relationship with a Framer
by Mary Beth Schwartzenberger

Establishing a relationship with an art framer is so helpful. The framing is mistakenly thought of after the art is made, when really there are so many ramifications of framing that is serves an artist well to keep those in mind when starting a project. When you establish a relationship with a quality framer, you can be counseled in choices that may not have even occurred to you and these tips can often lead to savings of time and money. The way I frame my work has changed over the years, and I now prefer to use a "floater" frame. The work sets into the frame and no glazing is used at all. Fiber is so tactile that the viewers are better able to respond to the piece without having to look "into" the frame through the glass. There is museum glass/plexi available - as the name suggests it provides the "cleanest" view - but it is pricey! In the first image Sergio is cutting and joining the frame. Julio has then placed the art into the frame and it will be attached from the back. This piece, First Snow, is on its way to Yosemite for the Renaissance 32 exhibit. It required the use of a "strong box" from Airfloat Systems. This box is very durable and meant to be reused. The liners protect from punctures. You customize the foam opening to your needs-the foam is prescored in a grid pattern for easy removal. Your frame fits smoothly into the open casement and egg shell foam sits on top and underneath. I would recommend this product at this point, it was very well made - let's see how it does after it travels and comes back around in the Fall. Before it was shipped out, I was notified that this piece will be the cover image for the exhibit - wonderful news!

First the frame is cut and joined                            The art is then fitted into the floater
                                                                                 frame - attached from the back

  Art fits securely into the Airfloat box
Mary Beth saw some beautiful garden tapestries at the San Diego Botanic Garden! Work created by the Ramses Wissa Wassef Art Center, Giza, Eygpt.



Mary Beth saw this chair at the Home Goods in Glendale!
Sure to thrill and inspire all you color junkies!                                                
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