Above: Musicians at Port Townsend Farmers Market.
Above: Salmonberry is a species of Rubus native to the west coast of North America from west central Alaska to California. Salmonberries are found in moist forests and stream margins, especially in the coastal forests. They often form large thickets, and thrive in the open spaces under stands of Red Alder. Salmonberries are edible and share the fruit structure of the raspberry, with the fruit pulling away from its receptacle.
Above: Blueberries and huckleberries picked in Upstate New York.
Brush Factory started in Brighton, an historic industrial district of Cincinnati. It has been home to artists, artisans, designers, and others for many years. Brighton is filled with handsome old brick multi-story buildings steeped in history. This history and unique setting inspires and infuses everything we do. Brush Factory brand places value on things like little material waste, a balance between innovation and tradition and above all, creating a product that has a unique personality built to last. We are committed to excellence in craft, quality, workmanship and design. Rosie Kovacs, fashion designer, stylist and purist at heart, believes that living a simple life doesn’t have to be dull. A Cincinnati native, she chose to start her clothing label after attending the University of Cincinnati’s DAAP School of Design. Residing in Cincinnati allows her to spread out, giving her the room and means to make her own products in house as well as collaborate with partner and fellow designer, Hayes Shanesy.
“Employing a combination of natural and industrial materials, my interest lies in articulating humankind’s desire to take command over the earth, revealing distinct conflicts with ecology, politics and ourselves in large-scale installations that utilize architectural space in a distinct, powerful and imposing manner”
Seashell necklace made from seashells found on the shores of Florida. Holes in seashells are naturally carved by predatory Moon Snail.
Handwoven in Brooklyn from found and reclaimed fabric.
Moroccan rag rugs
For Closure (Outdoors Providence), found local doors, 2009. By Gabriela Salazar.
Cloud made of plastic bottles which brought to life a local myth in Vrindavan, India.
“The Life Instinct” solo show by Anne Percoco celebrates makeshift solutions, survival instincts, and reuse of discarded material. The centerpiece is a scrappy yet intricate hut assembled from scavenged materials and textural handmade elements, which visitors could enter and sit inside.more →
Take a nap with your head in the clouds. White organic cotton cloud pillow.
The Cod Collection from Kria is a study of the fish which has sustained Icelandic culture for centuries and focuses on extracting details to imagine objects of ritualization.
Above: Artworks by Lara de Moor.more →
Poster by Federal Art Project, W.P.A, Ohio , US 1938. (Ohio is a buckeye state) Image found in The Library of Congress Photostream
Both films center around the sudden disappearance of honey bees from beehives around the world, caused by the poorly understood phenomenon known as Colony Collapse Disorder or CCD. Vanishing of the Bees does not draw any firm scientific conclusions as to the precise cause or causes of CCD, it does suggest a link between neonicotinoid pesticides and CCD. Queen of the Sun explores the historical and contemporary relationship between bees and humans.
Artwork by Adam Makarenko.
T-shirt chair by Maria Westerberg. Unique upholstery is created by weaving old t-shirts and textiles through chair structure.
Re-Love is a project by MAEZM.“Most clothes and chairs used in the past were collected by the artists and other relevant parties. It was designed based on a new method using objects in which memories remain and original function gone. The discarded chair once again becomes a comfortable sofa with clothes on top. Clothes are what enable the chair to play its part. This is also understood as one’s own past. As clothes are tangled, memories can be tied up to create a new love. To love the things again means to add another function to them. To love the things again means to add another function to them”
“To love the things again here needs be distinguished from recycling. Though the old and ragged chair in my room will gradually lose a great deal of its original function, it will hold prevalent value over other new ones through the time and space shared with me. This chair may carry an image of myself on it, stretching leg to the floor, or elaborately cherish a reminiscence of a time when I conversed with someone.
Sharing of such time and memory is also a matter of intimacy between me and the thing. However, regrettably enough, we repeatedly replace the thing for a new ‘goods’ unconsciously in pursuit of the ‘function’ it provides. The relationship between a thing and people should be understood as an expression of
‘self love’ on oneself as a result rather than personifying a thing. The intention is that the act of loving a thing again is engraved as love of one self about the time and space, and such love be proposed as methodology through ‘RE_LOVE’ “
Photo taken at Brooklyn Botanical Garden during cherry blossom festival.
Stunningly dizzying handwoven saltillo sarapes at the Museum of American Indian. “The earliest Saltillo Sarapes, from before about 1850, employ hand-woven wools and organic dyes (indigo, vegetal green and ivory/natural wool—including an extremely costly red dye, cochineal, produced by pulverizing cochineal bugs, a parasite of the nopal cactus. The designs of these early sarapes, generally a diamond of some sort, are linear and geometric. Sarapes are distinct from the world’s other great textile traditions. There are eye-dazzling effects, particularly in the central medallion, and some early examples vibrate like a piece of Op Art”