Anne Greenwood ~ Oregon

Pocket Book: Blow Me Away
By Anne Greenwood
Portland, Oregon: Anne Greenwood, 2010. Edition of 3.

5.5 x 9.5"; 10 pages. Handmade textile book. Bound accordion structure. Reclaimed fibers, fur, brass grommets, bias tape, screen printing, silk thread, linen, hand- and machine-embroidery. Housed in a cloth envelope with red and white polka dot closure.

Anne Greenwood: "My artistic process is influenced by collaboration, community-based projects, and a concept written about in David Pye's The Nature and Art of Workmanship. The term 'workmanship of certainty' refers to an artist or craftsperson working with tools and equipment that allow for precision, repetition, and consistent reproduction, as can be found with the use of a printing press or machine-stitching for example. 'Freeworkmanship' is working artistically without this element of certainty, as in embroidery or free drawing. The result is not known with certainty. The domestic and folk arts have a long tradition of gaining inspiration through daily life and using freeworkmanship in artistic expression. I explore these methods of workmanship through my use of materials, by scanning embroidery or fabric pattern and translating them into printed form to make prints, books, or other visual messages.

"Presently, my artwork examines pattern. The memories or associations surrounding textile patterns: quilts, blankets, clothes, and linens, evoke qualities similar to folk songs or ballads. …I am working on large scale fabric collages and a series of one-of-a-kind, small fabric books combining screen printing, natural dying, and hand-stitching exploring patterns based on my relationship to the natural world."

Anne Greenwood: "Basic background for the process of Blow Me Away is as follows, the edition of three was made for the 2010 exhibit in LA called Soft. My choice of materials: rabbit fur, linen, white screen printing ink, method for hanging on the wall, and the dandelion seed head imagery were inspired by the exhibit title and show requirements. My intent is to make artwork that includes fabric pattern, embroidery, collage, and personal expression. The screen printed bandana pattern is used as personal symbolism as well as linkage or connective aid to trigger memory in the viewer. I am interested in fabric pattern as a mnemonic device. Mnemonic is defined as a system of principles and formulas designed to assist or improve the memory or a device such as a pattern of letters, ideas, or associations that assists in remembering something."
$900

Blue Fields of Wheat
By Anne Greenwood
Portland, Oregon: Anne Greenwood, 2009. Edition of 50.

8.75 x 6.5"; 20 leaves. Letterpress printed linocuts and hand-set type. Thai Kozo and Unryu paper. Background pattern of vintage wallpaper transferred onto a Solarplate. Japanese stab binding. Completed during a residency at Cedar Crest College in Allentown, Pennsylvania.

A double-edged not-quite paean to the wheatlands of North Dakota.

Anne Greenwood, colophon: "Transfiguration is a complete change of form or appearance into a more beautiful or spiritual state. This story was conceived in 1993, soon after I had moved to Portland, Oregon leaving behind my home state, North Dakota."
$100

Lost Harmonies
By Anne Greenwood
Portland, Oregon: Anne Greenwood, 2009. Edition of 50.

9 x 7"; 32 unnumbered pages. Perfect bound.

Lost Harmonies, the book, was produced as a result of several projects conducted in 2008-2009 with Anne Greenwood, Rebecca Wild, and students from Trillium Charter School. It was published in conjunction with the "Lost Harmonies" exhibition by Anne Greenwood.

There is photographic documentation of classes on Papermaking with Helen Hiebert; Printmaking with Jan Pagliarulo and Barbara Mason; and Painting with Anne Greenwood and Rob VanNood. The resulting collaborative art project with Anne Greenwood, Rebecca Wild, and the students featured tyvek cut-outs, painting, and calligraphy based on four cycles of creation.
$40

Winter Count: A Forty Year Calendar
By Anne Greenwood
Portland, Oregon: Anne Greenwood, 2008. Edition of 30.

9.5 x 8.5". 46 pages printed letterpress from photopolymer plates: title page, artist's statement, 41 pages of embroidery images, two commentary pages for image titles and stitch identification, and colophon. Printed on Fabriano Rosaspina by Inge Bruggeman at Textura Letterpress Printing. Housed in cloth-covered clamshell box handmade by Moe Snyder with paper title on cover.

Anne Greenwood: "Winder Counts were historic calendars used by the Plains Indians to record time pictographically. This book is an artist's interpretation of the Sioux tradition to record a personal history using hand-stitched embroidery and letterpress printing."

In the spirit of the tradition Greenwood embroidered an image on reclaimed linen for each of the forty-one years of her life. The embroidered images were mounted individually on wood panels and originally displayed as an installation. Inge Bruggeman scanned each embroidery and created a photopolymer plates, which she then printed letterpress in different colors to match the thread of the original sewn piece.
$1,000

The Fear and Pleasure of Food
By Anne Greenwood
Portland, Oregon: Anne Greenwood, 2009. One-of-a-Kind.

11.5 x 17.5"; 12 pages. Handmade textile book. Button hole binding. Reclaimed fibers, black walnut stick, screen printing, Print Gocco, hand and machine embroidery. Housed in cloth slipcase with title embroidered on front cover. Collaborators include silkscreen and Print Gocco artists, Jenny Ankeny and Shu-Ju Wang. Hard-carved walnut stick for binding by woodworker Mauricio Rioseco.

The quotes used in The Fear and Pleasure of Food are from Nourishing Traditions Cookbook by Sally Fallon.

Anne Greenwood: "The Fear and the Pleasure of Food is a fabric book created as a place setting for the tabletop piece in the collaborative exhibit For the Love of Food in 2009. The exhibit was part of an artist's residency I participated in at Cedar Crest College, Allentown, Pa. The book expresses the worried, anxious, ramblings of a new mother challenged by modern era food fads and convenience. This book is unique and made entirely from reclaimed fabrics."

Portland Open Studios, September 7, 2010: "The installation For the Love of Food had its genesis in a conversation between Anne Greenwood, Helen Hiebert, Diane Jacobs, and Shu-Ju Wang, a group of Portland, Oregon, artists who have been meeting monthly for the past five years. Greenwood's concerns about the decline in the nutritional value of the foods we consume prompted the group to investigate the various issues surrounding food in our modern cultures."
(SOLD)