Guatemala at Last

Guatemala at Last

Man and Holly in Pana, Guatemala

Guatemala at Last

Guatemala has been on my bucket list since seeing my friend Sheri and her husband returned from there in 1973. Seeing them decked out to the nines in their red and white hand-loomed traje, (indigenous wear), I was struck dumb with appreciation and lust!

 

A couple of friends decided they wanted to go with me last fall, but then they both found they couldn’t so I had to think hard about whether I would still go for it. I kept feeling a big yes in my gut. Then my sister-in-law Nan took up the travel idea with enthusiasm. So, using all the research we had previously done, off we flew!

We decided to limit our itinerary to two places: Antigua and Panajachel. Those were bookended by overnights in Guatemala City for ease of transition. We used hired drivers, who prove to be very knowledgeable about the areas and culture, and gave us a feel for how to get around.

And we’re off and running to Antigua.

Antigua is a beautiful colonial city, with cobblestone streets and volcanoes looming over it. We settled into our airbnb in a non-touristy neighborhood and explored the area, finding what became our favorite café for brunch and restaurant for dinner. Nan discovered a little local place to bring coffee and cookies for an early breakfast. Who knew I could drink coffee! The way they roast it makes a milder brew, just right for me. We fell in love with the thick tortillas and black beans, and roasted plantains with crema and eggs for our breakfast. For dinner they had wonderful soups. And more tortillas! We liked going to the same places to get to know the servers and become regulars even the short time we were there…

A woman from my gym told me about a warehouse in Antigua that had Huipils (tops) and Cortes (shirts) all stacked up. It was called NimPot, and it did not disappoint! I mean, really stacked up. We were in a trance, seduced by all the variations of weaving the different styles of ikat, stripes, metallic threads, old, new,
you name it.

I have used Guatemalan indigo hand-woven fabric for many years; I love the weight of it for my clothing, and combine it with African and Japanese indigos.

We went to NimPot three days in a row! Each of us had brought an extra bag, which was filled almost to the brim, we felt like kids in a candy store. The beauty was overwhelming.

It was like being kids in a candy store.

Next stop was Lake Atitlan, we stayed in Panjachel, the main town. Again, we explored the local neighborhood, and it’s rustic flavor. Nan was fixated on pupusas, and we found a Salvadorian place that was a dive bar, but the pupusas and cortido were amazing! Food and fabric- what could be better!

One day we took a lancha (boat) to a neighboring village. Coming back was choppy but safe. The village we visited was set up for tourists, but it was still an adventure. On the last day of our stay, we searched out the market in front of the firehouse, called Las Bombas. There were many vendors with antique textiles. Of course we couldn’t resist. We bought one more bag to share.

Afterwards, we took a chicken bus up to Solola, the seat of the state. (The chicken buses are a marvel of chrome and color). It is not a tourist destination and therefore had many locals in full regalia and a wonderful vegetable and housewares market. I hope to go back there, as it is very auténtica.

I do want to return to Guatemala. The people are so kind, and I love the simple delicious food. Next time perhaps I will focus on the history and artifacts, and not be so fabric-centric. But being there, surrounded by volcanoes and a vibrant culture, is what the magic of travel is all about.

Drop Cloth Coat

Drop Cloth Coat

Holly B with Celeste in her Sausalito, CA studio

Drop Cloth Coat

Gathering miscellaneous items in the mom studio cleanup, I found some canvas that had been used as drop cloths. Not too splattered, I considered their promise. One was an interesting weave and not too thick, the other a gorgeous, tight woven yet soft, weight. 

In January I signed up for a couple of activities to bring some structure to my life:  a lecture presentation at PENWAG in May, the Peninsula wearable art group, second a fashion show in Santa Clara for the Pacific International Quilt Festival end of July! 

Slowly the creative wheels started to turn. After the years of being in charge of Mom’s care, it was challenging to hop back into my own hemisphere. Having a deadline always helps. 

Marj City by Holly Badgley, Size: 36”x24”
Marj City by Holly Badgley, Size: 36”x24”

So back to slowly. The drop cloth-into-clothing-idea was a way to transform my grieving into action.  My niece, Taya, had a wonderful coat that I made a pattern from. Step one. Then, I thought I wanted to embellish the canvas as if it had been splattered. That meant getting really loose and even messy. How fun! How liberating!

Get those juices going!

Marj City by Holly Badgley, Size: 36”x24”
Marj City by Holly Badgley, Size: 36”x24”

The first coat made me happy. It was a big departure from my usual painting style. 

It looked marvelous and when I did the presentation at PENWAG it sold! I was a little tender about letting it go, but I knew the woman who purchased it and she knows how to wear it and I am happy she was the one to treasure it.

The second white coat was thicker. I couldn’t even turn the edges in for the facing and collar, so I just topstitched it and let it fray for a really deconstructed look. I’m not sure this coat will sell. It’s more of an object/art piece. But there it is, an inspiration for me going forward. 

Maybe clothing can be sculpture, 3D. And that’s okay.

Images by Badgley Photography:

The Crossroads

The Crossroads

Holly B with Celeste in her Sausalito, CA studio

The Crossroads

Having finished clearing out my mom’s apartment I have started the process of clearing my own space. I can hardly walk into my studio. I don’t know where to start. And I realize I don’t have the bandwidth or strength to work as I have all my life. I’m not interested in production and I’m not sure there is still a market for “wearable art” like in the past.

So I have to search my soul and see what I can let go of. One of the key things about sorting and clearing is: where is it going to go? Most of what I want to shed is white fabric that can be dyed or painted. So that’s what I’ve been doing. Measuring, bundling and tagging all the white fabric I am not ever going to get to. I have one woman who I took an eco printing class with who is taking some. That gives me great satisfaction, knowing where it’s going and what marvelous things can happen to those yards of silk, wool, linen and misc.!

I have to search my soul and see what I can let go of.

In my mind’s eye everything I see has potential, rusty bottle caps on the street, papers of all sorts, plastic bags. And fabric. Getting rid of white fabric allows me to shop for Guatemalan cortes (skirts), and African indigos, and kantha blankets. In order to get current with myself, and what I want to be doing, it helps to go through all the bins of fabrics and reorder them, see them.

I love making clothes. I love dressing. I love color. And I love the scraps in my cutting wastebasket and the little swirls of thread on the floor that magically make a neat composition. I want to explore all of the magic and potential that my studio contains. Now I have time. I can make my own schedule. I can ask myself-what will give me pleasure and take my art to the next level?

Stay tuned. And if you want some fabric let me know!

The Long Journey

The Long Journey

Holly B with Celeste in her Sausalito, CA studio

The Long Journey

My mother passed away July 15th at the age of 97. She hadn’t been to her studio since December but that doesn’t mean she wasn’t working. She was still engaged with her art practice till about a month or two before she just couldn’t anymore. Those are big shoes to fill. You can check out her website and see for yourselves: ebaart.com.

My care of her started in 2020. It was our first look into her mortality and it was sobering. She went to the hospital and after her “spa” treatment there, went home now taking pills. She’d only taken vitamins before that. Covid was upon us and life was looking different. I started out coming to her 2 days a week. Then after a bit, hired one companion, then another and then a third. We became her “Team Elaine”.

In those ensuing years, she made a bronze sculpture of a kneeling man in honor of George Floyd, a 7′ x 9’ diptych of the siege of the White House and, mostly completed a large painting of a cello player playing in front of bombed out buildings in Ukraine. She was very political in her later years.

Marj City by Holly Badgley, Size: 36”x24”

Mom’s unfinished painting of Ukranian cellist in front of bombed-out buildings in Kviv. This was her last painting that she worked on.

Marj City by Holly Badgley, Size: 36”x24”

Mom with London Breed at City Hall in San Francisco, posing with her last mayoral painting.

Diptych of the January, 6th. seige on the US capital in Washington D.C.

Header image: Kristina, mom’s main helper, taking a selfie at Artworks Foundry in Berkeley, CA.

Marj City by Holly Badgley, Size: 36”x24”

Mom with Andre Hines, her muse for the Kneeling Man sculpture.

Marj City by Holly Badgley, Size: 36”x24”

Sketch of Andre Hines posing for the kneeling man, which was later turned into a bronze sculpture.

Group photo at Artworks Foundry with helpers and family. November 2021.

I’m telling this story to illustrate the process of a very prolific artist coming to grips with the inevitable from a daughter’s perspective. Everyone’s journey is different according to who they are. I had the privilege to assist mom with her projects and daily needs. It wasn’t easy, but it was such a valuable experience for me. I am still weighing the need to finish everything you have wanted to do, (did I mention she also published a memoire!), or to be quietly introspective and real about what is going on. My mom was very driven, and I think at the end she accomplished all the things that she wanted to say with her work. And we had sweet times of connection: watching our PBS Masterpiece shows, eating yummy food and looking out her window and telling stories.

I miss her very much.

ebaart.com

Sebastopol Center for the Arts: Art Quilt Show

Sebastopol Center for the Arts: Art Quilt Show

Holly Badgley discussing her art at the Sebastopol Center for The Arts

Sebastopol Center for the Arts: Art Quilt Show

It was a long time that I didn’t submit any of my work into various shows. Life got in the way and maybe I didn’t resonate with the themes. My friend and fellow “quilter”, Karen Balos, suggested I join SAQA, Studio Art Quilt Association. She told me that the definition of “quilt” had been revised and loosened to include a more freeform style of working.

Marj City by Holly Badgley, Size: 36”x24”

As a result I entered three pieces into the Art Quilt Show, a collaboration between Sebastopol Center for the Arts and SAQA. One piece was accepted. I was thrilled. The piece was one I made from couture scraps belonging to my, many years deceased, mother-in-law Marjorie Stern.  Collected from her trips to Paris couture houses (mainly Dior), ranging from the ‘30s to the ‘60s, the rolled up bits of cloth fell into two categories: city clothes and country clothes.

I made two wall pieces as a result. The one selected for the show was called “Marj City”, a collage of beautiful greys with some black and white mixed in, as well as a splash of coral. In her closet were the finished garments lending inspiration to my process. One gown, (how often do we see gowns these days?), was a strapless Lanvin in a large brushy, painterly print, topped with coral soutache. The soutache gave dimension and a strong graphic pattern to the gown. It has an honored place at the De Young as part of their textile collection. And the scraps have a place on my wall hanging!

Holly Badgley discussing her textile art at the Sebastopol Center for the Arts
Holly Badgley discussing her textile art at the Sebastopol Center for the Arts
It has an honored place at the De Young as part of their textile collection. And the scraps have a place on my wall hanging!

I wasn’t available to attend the opening of the show, but offered to come up for the SAQA members talk a couple of weeks into the show. It was wonderful to see the variety of work present and I was happy to be in such an appreciative crowd.  The talks went well and my friend Marla recorded mine. I am grateful to the Center for the Arts for the opportunity to show my work.  Now that I have gone through the application process, I know there will be more chances to show my work.

Looking back to January and February, it seems like a lifetime ago we could go to art galleries and openings, many prayers that we will again. In the meantime- Let’s make Art!

 

Resources Mentioned in this Blog Post

Sebastopol Center for the Arts

Studio Art Quilt Associates

Karen Balos

Marla Brillart

Making yardage for Catherine Bacon’s art kimonos!

Making yardage for Catherine Bacon’s art kimonos!

Making yardage for Catherine Bacon’s art kimonos!

I make fabric for Catherine Bacon about twice a year. When I was doing yardage for her a couple of years ago, it became more full-time than I wanted. I liked having a steady paycheck, but I missed out selling at other venues ie: the Santa Fe Weaving Gallery, and at the Acqua hotel sales.

As I do love keeping my hands in many pots and in keeping with how Catherine’s business was changing, when she decided to hire surface artists to make one of a kind yardage for her Art Kimonos, I jumped at the chance.

She sends me old remnants of her double georgette, this time in “butt ugly” colors (her words). I love the challenge of painting them into something beautifully mysterious at the same time using up the old fabric from previous collections.

In the past I have planned the fabric to fit her pattern, motif-wise. This time I painted and screened a design not knowing where the pattern would lay. That was a holdover from the Diane Ericson/ Gwen Spencer way of working at the Taos Design outside the Lines 2015. Very freeing.

I would love to see how they turn out. However, Catherine doesn’t usually document each one. That’s another reminder of the fleeting connection I have to these wonderful pieces.

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