A candy bowl is a dish to display and serve candy in.  They are generally put out when guests come over.  I remember them always being put out by my grandparents and other people I would visit as a child.  You know the houses, the ones with no children!  Usually they were beautiful cut glass.  They almost always had candy I liked in them and I was always offered some!

When I saw Carol Storie's Canvas Candy Bowl come out as a new Author Owned Group Correspondence Course, I thought "Wow"  I love canvas, it is practical (for some candy anyway), and it is gorgeous!

You have heard of the term "eye candy", well that is what I think these are!  The term per Wiipedia is "A slang term for attractiveness".  I usually use the term to describe nice young sexy looking hunks but you know how it is with us stitchers.... we love fibre and usually colour!  This project has both...I was drooling and it doesn't even have candy in it!

I was not too picky on the colours Carol had done it in.  Don't get me wrong, they are nice colours but don't fit in my decor.  I also decided if I was going to do it that it had to fit in an appropriate room and match the decor.  

Here is mine....can you guess what room it might fit in?  They are really rich colours.
Dianna Thorne's bowl

It goes in my library. 

Yes, I said library.

In the more recently built houses you have a family room by your kitchen.  I think it is for moms to be able to keep an eye on our little ones while cooking and doing dishes.  I did not have this type of thing until recently and I always had the kids in the basement but the door open so I could hear what was going on.  In our current house we wanted to have a very large rec room/family room and not by the kitchen.  It is our games room etc.  So, what to do with the upstairs family room.  We have hundreds of books so it became obvious what the room would be.  Any library worth its salt has lots of wood and nice rich colours.  

So here is my bowl in its new home. 

It is on an antique table between two chairs that remind my husband and I of the Archie Bunker show. 

It has a home.

While at seminar I found that many others had done the course as well and thought we should see what everyone else did for colours.  So below are more pictures of all the ones I could find. 

Some are from the EAC Virtual Threads group and some from The Victoria Guild.  I think everyone has done a fantastic job of colour choices!

completed by Anne Clinckett

by Dominique Severin
above: Both from The Embroiderers’ Guild of Victoria

above: Purple – Brenda Wilson of York Chatelaines, 
Yellow – Sue Thomas EAC Virtual Threads, 
and mine before I made it in a bowl.

Brenda Wilson's candy bowl

Brenda Wilson’s finished dish with chocolate 

Notice how she pinched her sides the reverse from the pattern!  
Neat idea!

All 3 below are Leslie Burrows, she has been busy!

Here are a few others from my guild, in various stages of completion

stitched by Judy Duke

stitched by Karen Lehman

stitching by Marie Bourgeois

Susan Harrington's work in progress

Stitched by Valerie Spring

I would like to thank Carol Storie for getting our juices flowing and bring out the colour in us!

Just my wondering thoughts….Dianna Thorne

Marie-Renée Otis, 
artist in residence in Paris,

Fellow of the Council of Arts and Letters of Quebec

The Eighth Week

The Buren’s Columns

In 1985, the artist Daniel Buren created his architectural piece of art Les deux plateaux (The Two Sets). The critics were acerb and harsh against this piece. It consists in numerous bicolour columns of different heights. This sculpture, presenting a very modern facture, occupies the courtyard of a 17th century building.

What a clash! What a disturbing contrast! Plus, the columns aren’t directly laid on the ground but on two slaps of concrete, increasing their volume and the heaviness effect. On the contrary, in books of art, columns usually give an impression of lightness, not in this case.

Nonetheless the critics, the Buren’s columns still stand in the Palais royal’s courtyard. The castle was Louis XIV’s home during his childhood. Later it became a highly fashionable meeting location of the Parisian worldly life. Gambling houses continued to be in operation there till 1836. The Molière’s theatre was also in this location and later the Comédie française’s theatre. Today le Ministère des affaires culturelles (the Department of Culture) occupies this building (with other departments).

For many years I wanted to visit this special work of Buren. Examining it in a book of art wasn’t sufficient. In reality, The Buren’s Columns are very accessible. To get to the Palais royal, one of the accesses passes through the columns. One can literally walk on the columns like in a path.

The ensemble has another symbolic. When you look at it from a distance, the columns represent pieces of a chess mat in the big game of the society.

Children climb on them, adults sit on them. This way, the Buren’s Columns can become a part of the citizen life. The playful aspect allows us to appreciate this work of art even if the critics were vitriolic at the beginning.

The Buren's Columns

The Centre Pompidou, the National Museum of Art

The Centre Pompidou is famous for its unusual architecture. All its ventilation pipes, plumbing and electric wires are showed outside, instead of being hidden like for other buildings. Arriving at the Centre Pompidou, at the first glance one sees the variety of colorful pipes in all shapes and sizes, on the exterior walls.

I visited many exhibitions at Centre Pompidou, but I’ll talk only about one work of art: Tutto by the Italian artist Alighiero Boetti. In 1987, Boetti designed a large tapestry that was embroidered by Afghan women, living as refugees in Pakistan, during the Russian invasion of Afghanistan.

Boetti asked the embroiderers to choose themselves the colors of the abstract, geometrical and figurative motifs.

The result: at first, the viewer’s attention is captured by the texture of this “painting”. Then, we realize instead of being standard paint, the canvas is cover of threads, tightly and densely embroidered!

The Centre Georges-Pompidou

Tutto,  floss on linen


Monsieur Philippe Cécile

It’s done. I’ve achieved my scheduled learning goals with the great master in embroidery Philippe Cécile. I’ve just come back from a beautiful journey in Joigny, at Mr Cécile’s workshop. This time I’ve studied the technique of “pinceauté” (something like: paint brush’n thread). This technique was largely used during the reign of Louis XVI.

On a background fabric offering shades of light, like the moiré fabric kind, you stitch with silk, gold and/or silver threads. But the first step consists in painting the fabric. In French, paint brush is translated by “pinceau”. This technique is named after this tool pinceau + té = pinceauté.

The last step is to underline the design with floss.

Next month I’ll visit again Mr Cécile. This’ll be in extra of my planned schedule. I want to enjoy every possible moment with this generous master, for whom embroidery has no more secret.

Each time Mr Cécile mentions the name of a technique or a stitch that I barely know or often do not know, I note it and by this we plan another class. I can give you a world of new words and new techniques. The vastness of Mr Cécile’s embroidery knowledge gives me vertigo.

I appreciate so much the discrete and generous advices that Mr Cécile offers me. And I’ve begun to unravel the many drawers of nails for embroidery, pins and other staples in the workshop. But I stop there. I’d never be so impudent to open the drawers containing gold threads, they are like a treasure chest directly from 1001 Arabian Nights.

I’m privileged to dine at Mr Cecile’s table. I’m always looking forward to go to Joigny. I’m a highly motivated student. And my teacher examines attentively my exercises, always encouraging me.

I’m in paradise.

My first exercise of “Pinceauté”

Pinceauté”, detail

My first creation in “Pinceauté”, La quadrature des fleurs (Squaring the Flowers)

La quadrature des fleurs, detail

Pier Branly Museum (Musée du Quai Branly), 

a melting pot of Cultures

The museum Branly is the museum of the native peoples, an encounter of aborigines from Australia, North America, South America, Africa and Asia. Every kind of art is exhibited but no main stream occidental art.

I usually visit a museum equipped with a pencil and a note book. I sketch a little design here, note down an idea for a future embroidery painting there and I record thoughts of the moment. But not this time.

I simply and indolently wanted to relax, I wanted that my instinct leads me from a hall to another and be impregnated by the atmosphere. I wanted my sight to be catch by astonishing things.

It greatly worked! I was literally shaken when I saw the dancers’ costumes for the Bolivian carnival of Oruro: La Diablada. Wow! Those costumes are embroidered from head to toe, without any censure, in an orgy of sequins, feathers, colorful threads and glittering ornaments. A wild embroidery in full color and full size. The devil himself.

In Oruro, for six days the outrageous devils take control of the city. Impressive! Let’s say my laziness was electrified by La Diablada.

Truly, is it possible to go that far with embroidery?!

                                      Embroidered costume for La Diablada, Oruro’s carnival in Bolivia

The photo research and the translation are made by Lucie Daigneault

by Kerry Leslie

Yarn bombing, as you can see defined in the photo above, is a type of temporary art installation.  This is something I have wanted to do for some time so when I was going to be featured as Artist of the Month in the County of Vulcan, Alberta, back in May of this year, I decided the time was here!  

Vulcan, Alberta, is home to the Vulcan County office but Vulcan has another claim to fame.  As most “trekkies” can tell you, Vulcan is the home planet of Spock.  The town has a lot of fun with this with annual Trek Days celebrations, a visitors centers and museums featuring all sorts of Star Trek memorabilia.   Recently a bronze bust of Spock was installed in a celebration attended by none other than Leonard Nimoy, the actor who portrayed the original Spock in the television series and subsequent movies.  The weather was still chilly in May so I thought Spock needed a nice woolly scarf to keep him warm!

Another statue in town features three children on their way to school.  They needed to dress better for the weather as well!  This is where the fun really started as an older couple walking by dissolved in giggles as they observed me at work and shouted out “Good for you!” 

 I continued to “take it to the street” by sewing pieces of knitting on flagpoles, trees, and railings.

The county office itself was more of a challenge – the reception area is very sterile and it was difficult to find ways to incorporate the knit pieces.  I brought in a bicycle from home and yarn bombed it to give myself more to work with.

I returned to Vulcan shortly after Easter and found that the statue of the three children had been modified – the girl’s wool hat had been replaced with an Easter bonnet and the small boy’s toque had been replaced with a pair of fuzzy rabbit ears.  I was thrilled – interactive art!

Now, three months later, all that remains of the display are bands of fading knitting around the trees and a pencil jar in the office that the workers wanted to keep.  

This type of art is by nature temporary as weather and human interaction become involved.  

Was it worth it?  
Will I do it again? 

This document covers your behaviour as a member of the EAC community in any form, whether email, website, public meeting, private correspondence, or face-to-face communication.

Be Welcoming and Inclusive

One of the core responsibilities of EAC is to promote needlework through education. Beginners or advanced, male or female, young or older, all should be made welcome without discrimination or harassment.

Be Respectful and Considerate

You are working with others as a team so be considerate of how your words, actions and contributions affect your fellow members and the community as a whole. Treat one another and members of the community with respect. Everyone can make a valuable contribution. We may not always agree, but disagreement is no excuse for poor behavior or poor manners. We might all experience some frustration now and then, but we cannot allow that frustration to turn into a personal attack.

Be Collaborative

Members of EAC share a common interest and love of the hobby and art of needlework. Varied views on the running of any organization are to be expected, but any new ideas or suggestions of better ways of doing things should be passed on in a constructive way. Remember that disagreement, debate and constructive criticism is often how progress is made. The important part is not to avoid these differing views, but to resolve the issues constructively and not turn them into personal conflicts.

Be Grateful and Courteous

Organizations cannot run themselves. EAC relies on the time and efforts of many volunteers, whether on the national board or local chapter level. Seminars in particular require a great deal of time and energy from EAC members on the committees who must fit it in with their busy lives. They are committed to doing their best and deserve the respect and admiration of those who attend.

Be Democratic

Within the organization all views have the right to be heard, but the will of the majority should be followed.

Be Available

Anyone who offers for a position in EAC, whether National or local, should realize they have a responsibility to be available to their fellow members. Phone calls, emails and other communication should be checked regularly and answered promptly, even with an "I'll get back to you.". If this is impossible personally, then they should arrange for others to take this responsibility temporarily.

Be Honest

Sometimes the hardest thing to say is "No" or to admit that we forgot to do something. Be honest with each other and to yourself with regards to your commitments. Never be afraid to ask for help.

Follow the Rules

Volunteers are expected to uphold the Bylaws, Policies and Procedures of EAC and their local chapters. If there is confusion on any issue, questions should be directed to the President or an appropriate member who will find the answer for you. Discretion in the use of membership information and copyright materials is expected from all EAC members.

Respectfully Submitted by your EAC Board of Directors
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About EAC

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The Embroiderers' Association of Canada (EAC) is a national non-profit educational organization whose purpose is to have a fellowship of persons who enjoy needlework and wish to learn and share their knowledge; and thereby to work towards maintaining higher standards of design, colour and workmanship.

Our aim is to preserve traditional techniques and promote new challenges in the Art of Embroidery through education and networking.

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