Why do you find natural textiles so rewarding?

Unlike paper, which is generally flat and unmalleable, textiles are delightfully textured and capable of movement, which provides endless opportunities for artists. The tactile nature of natural fibres allows for a deeper connection with the material. Each thread can be manipulated to create intricate patterns, adding layers and depth to artwork.

A World of Difference – Detail

Are all natural fibers able to take dye?

To my knowledge, yes.

Do you dye your fabrics?

Sometimes. Primarily I dye my cheesecloth with Procion MX dyes and use paint on my textile backgrounds.

Can you expand on the fact that the fabric can fulfill the needs of a weathered face?

Today, everywhere we look, we are bombarded by images featuring the flawless complexions of youth, but I see far greater beauty in the lines and creases that develop in our faces over time. So, while rough and textural materials might seem unlikely media for work in portraiture, they are perfect for the faces that I find so appealing. The innate qualities of cheesecloth allow me to capture the essence of age, portraying the wisdom and experiences etched into every wrinkle and fold. This approach celebrates the uniqueness of each individual, turning the perceived imperfections into remarkable attributes that tell a story.

Half Time, 12 x 12 inches

How do you see fibre art being included with ‘mainstream art’?

I find it difficult to understand why it hasn’t been all along. There is a bias, I think, that textiles, items we wear and use every day, have less inherent value than hard canvases and paints available only in specialty shops. Items made with cloth are deemed “craft” rather than “art,” perhaps because of their association with domesticity and functionality. However, fibre art demands just as much creativity, skill, and vision. Fibre artists strive to challenge these perceptions and elevate textiles to their rightful place in the art world.

Fibre art can evoke powerful emotions and convey profound messages, just as any other medium can. The versatility and tactile nature of textiles allow for a unique form of expression that resonates deeply with viewers. As more people recognize the artistic potential of natural fibres, I believe that fibre art will continue to gain acceptance and appreciation in mainstream art circles.

 The Other 1% – 60 x 36 inches

How have you seen the collectability grow in fibre art since you began?

To be honest, it’s been minimal. Without the support of fibre-specific organizations that provide exhibition opportunities, my work would seldom be displayed to the public. These organizations play a crucial role in advocating fibre art and helping textile artists gain visibility and recognition.

Equus 24 x 18 in

What led you to working with cheesecloth?

It was a bit of a fluke. A piece of dyed cheesecloth I had stitched to two abstract pieces, along with a variety of other textiles, had in one, the appearance of a human figure, and then puzzling out how to achieve that effect intentionally led to experimentation that resulted in the figurative work I do today. This accidental discovery opened up a realm of possibilities, allowing me to explore the interplay between texture, color, and form in creating representations of the human experience.

How did your children help you develop your cheesecloth art in the early days?

After completing the abstract piece I just mentioned, Composure, it was actually my teenage son who jokingly pointed out the “man” he saw in the cheesecloth.

Composure II, 16 x 16-min

This playful comment sparked my curiosity and led me down a path of intentional experimentation with the material.

Composure I, 16 x 16-min

How long have you been working with cheesecloth and extending the boundaries?

I began my cheesecloth work in 2008. Over the years, my techniques and artistic vision have evolved significantly. Of course, other fibre artists have attempted to replicate my work, but they have taken the shortcut of fusing the cheesecloth to a background fabric. To me, this completely negates the fluid qualities cheesecloth is capable of providing, and results in portraits that are stiff and flat-looking.

Take one portrait that initially helped you develop your art.

Portrait, 12 x 12 inches

My first experiment was a seated figure, Waiting, based on a copyright-free online photo, Elderly Woman, by Chalmers Butterfield. Just at that time, there was a call for donations of textile work 12 inches square and, realizing the full figure didn’t scale easily to that size, I decided to do just her face. It garnered a lot of attention at the auction.

Waiting, 28 x 22 inches

Expand how Nysha helped with a commission and continuing with friendship.

That first publicly exhibited auction piece definitely changed my life. The successful bidder was someone named Nysha Nelson, a name I didn’t recognize. The next year, he discovered that I had finally launched a website and contacted me to purchase one of the pieces posted there. After exchanging emails, we discovered we both belonged to Studio Art Quilt Associates (SAQA) and agreed to meet in person at the next conference. A talented artist in his own right, Nysha became both a dear friend and a treasured sounding board, and when I showed him a piece I was making for a Taiwan exhibition, Nereids, he was captivated.

Nereids – 25 x 52 inches

Knowing I was frustrated with the space constraints of my domestic sewing machine, he offered a trade: his Handi-Quilter in exchange for the work when it returned from the exhibition. What a boon. Finally, I was able to make much bigger pieces and began regularly producing portraits that were 1.5 metres and larger.

In 2020, when I was invited by Timeless Textiles to participate in the Australian exhibition “This Ain’t the Archies,” celebrating a textile artist who had inspired me, I knew immediately who my subject would be. Nysha graciously consented and sent me some photos to work from.

Nysha – 48×35 inches

Nysha’s support and friendship have been invaluable in all my endeavors.  His insights often help me in choosing how to approach a new theme or composition. 

How have you used words and poetry in your work?

Perhaps because of my love of poetry, when I create portraits of singers like Leonard Cohen and Willie Nelson, it makes sense to me to connect snippets of their artistry with their image.

Willie – 45×34 inches

Or when I sculpted a face that had the look of an old sailor in Lighthouse Keeper, I incorporated the first few lines of the poem, “Sea Fever.” In those instances, the text became an integral part of the story I was telling about them. Integrating literary elements into visual art enriches the narrative, giving viewers multiple layers to explore and connect with.

Lighthouse Keeper – 36 x 46 inches

Take three images that look quite different because of the sitter.

          Youth Peggy, a portrait of novelist Margaret Atwood

Peggy – 20 x 40 inches

Middle Aged The Drifter, a portrait of a street musician

The Drifter – 41 x 30 inches

Old A World of Difference, a portrait of environmentalist David Attenborough

A World of Difference – (Attenborough)   48 x 35 inches

Do you enter exhibitions to expand your work?

Definitely. When I see an exhibition call with a specific theme, I enjoy the challenge of selecting a portrait that will best convey my response to that prompt.

Apart from people, discuss your animals and nature work.

I am always pushing the boundaries of my medium. It began with my first cheesecloth class, where I wanted to teach students how to manipulate the cheesecloth without the pressure of trying to capture a human face, which can be daunting. I designed a very simple pine (Windswept Pine) along the lines of paintings by Canada’s Group of Seven artists, which everyone loves. I use it in classes to this day because it is such a gentle introduction to using cheesecloth to convey figurative imagery. But I have also had fun using it for horses’ manes, ocean waves, and an assortment of furry and feathery critters.

Windswept Pine,  16 x 16 inches

Each piece I create is a testament to the versatility of cheesecloth and the endless possibilities it presents.

How large and small are your works and why the sizes?

Bella – 60 x 36 inches

When it comes to the size of my work, I carefully consider the emotional impact I want to create. Larger pieces allow for grand, immersive experiences, inviting viewers to explore every detail up close and then to stand back to take in the effect of the entire artwork. Conversely, smaller works can evoke intimacy and personal reflection, drawing the observer into a more contemplative engagement with the subject.

Jumbo Grizzly – 37 x 24 inches

You make the comment that older faces have, “a life that has lived” – discuss.

Older faces, in particular, fascinate me because they tell stories of lives fully lived. The lines and wrinkles, the expressions shaped by years of experience, carry a depth that younger faces have yet to acquire. Each portrait becomes a tribute to resilience and wisdom accumulated over time.

Why do you teach and share your technique?

Teaching and sharing my technique are integral to my practice. I have been a teacher all my life, so even now, it gives me immense satisfaction to mentor budding artists and help them discover their unique voices. Seeing their progress and the innovative ways they interpret techniques is incredibly rewarding. Every time I say I am retiring from teaching; some exciting opportunity comes my way, and I can’t resist the adventure.

Comment on how you have combined your art and literature in ‘Peggy’.

In Peggy, my portrait of Margaret Atwood, I blended my art with colours from her Handmaid’s Tale novels. I was influenced by the exhibition I created her for: “Colour With a U” for my Canadian SAQA pod.

Peggy, 24 x 40 inches

Do you take commissions?

I have done several commissions, some of people, some of pets.

What are you currently working on?

I am working on a portrait of Canadian painter Emily Carr, who lived not a block away from my new home in Victoria, British Columbia, and whose works celebrate the beauty in my new surroundings.

Contact:

Mary Pal

Web – www.marypaldesigns.com  www.marypalteaches.com

Email – marybpal@gmail.com

Deborah Blakeley, Melbourne, Austral

Interview by Deborah Blakeley, April 2025

Images on these pages are all rights reserved by Mary Pal