Member Activites – July 2016

Hi SDA-WA!  Here are some more activities from (and for) our wonderful members!


July 7 – 23, 2016

Opening First Thursday, July 7, 2016 6 – 8 pm Artist will be in attendance

Foster/White Gallery is pleased to present a new exhibition with local textile artist Cameron Anne Mason.

The theme of nature and the evidence of human hands upon it permeates Mason’s work like the dyes used to color her hand-worked silks and velvet.

Deeply rooted in the Northwest Coast, Cameron Anne Mason’s relationship with nature is as much a part of her life as the artwork it inspires. Through deep meditations on our changing environment and by looking closely at our natural geography, Mason ardently layers and stitches her impressions into each sculpture. Her latest series, Branching, honors the history of the cloth she works with, embroider- ing stitch upon stitch parallel to a tree’s rings of growth.

Mason has been exhibiting her sculptures with Foster/White Gallery for several years. Her background in theater arts has also encouraged several installation projects throughout Seattle, including SAM Set the Table, MADArts, COCA’s Rootbound, the Bellevue Art Museum and this summer’s Bellwether sculpture exhibition at Bellevue City Hall. Mason has most recently been selected by Chateau Ste Michelle as the featured artist of their 2013 Artist Series Meritage to be released later this year.

Cameron Anne Mason’s work is in public and corporate collections throughout the Pacific Northwest and broader United States.


maryMary O’Shaughnessy has a show of her new collage series: Hand Made Paper, Tea Bags, Image Transfers at Frame Works in the Under Town of Port Townsend (211 Taylor Street, suite B5).

Her art will be shown from July 2nd through July 30th, Monday through Saturday from 10am to 5pm.  She’d love for you to stop by and check it out!


dorothy tetrahedron 3


Dorothy McGuinness has had her piece Tetrahedron 3 accepted into the Fiberart International 2016 show in Pittsburgh, Pennsylvania through August 21.

Congratulations Dorothy!!


carylCaryl Bryer Fallert has two pieces in the show Women by Women a new exhibition by The Surface Design Association: North Peninsula Chapter opened June 29 at Pippa’s Real Tea in downtown Port Townsend, WA.  The show will run through the end of August. Fifteen of artists have interpreted the theme, Women by Women, in our respective fiber media to bring you a broad range of images and techniques.


Gail Harker Center for Creative Arts will be showing the works of some of their level-3 graduates on August 13th and 14th, 2016.   Congratulations to all of the graduates!

gail harker



Congratulations to member Barbara Houshmand for her piece entitled The Time Watcher winning People’s Choice Award at the Northwind Art Center’s show “Bits and Pieces”!

SDA Washington: Art Shows, Workshop, Congratulations, Call for Art


Art Shows —

April 1-May 1st, 2015 Beyond Blue Collaborative Pieces by Fiber 19

Sidney Art Gallery and Museum 202 Sidney Ave, Port Orchard, WA 98366, (360) 876-3693

Collaborative, various artists from Fiber 19

Collaborative pieces, various artists, Fiber 19

An eclectic show of Fiber Art by Fiber 19 graduates of the UW Fiber Certificate program and associates. Seven SDA members are in the show: Debra Calkins, Kaylin Frances, Barbara Matthews, Louise Roby, Deborah Taylor, Terry Berg, and Rebecca Wachtman.



Spring Rain by Gay Jensen

Spring Rain by Gay Jensen

April 23-May 30, 2015   Saving the Environment: Sustainable Art  

Opening reception April 23, 5pm-8pm. Ongoing hours:  Monday-Friday 10am-6pm, Saturday 10am-5pm, Sunday noon-5.  Schack Art Center , 2921 Hoyt Ave, Everett, WA

This show celebrates the awareness of the environment and inspires environmental issues when creating art.  Participating SDA artists are: Barbara De Pirro and Gay Jensen



April 1 – June 28, 2015, Revealing the Hidden

Deb Taylor, Arcane Pathways I

Deb Taylor, Arcane Pathways I

Location: La Conner Quilt And Textile Museum, 703 South Second Street, La Conner, WA

Artist Reception: Saturday April 18, 3:00- 5:00 PM

This is an exhibit of contemporary textile art curated by the Contemporary QuiltArt Association.

SDA members juried into this show include Mary Berdan, Patti Bleifuss, Bonnie Bucknam, Christina Fairley Erickson, Sonia Grasvik, Gay Jensen, Barbara Nepom, Barbara O’Steen, Helen Remick, Sharon Rowley, Carla Stehr, Cynthia Stentz, Katherine Sylvan, Deb Taylor and Colleen Wootton.

March 20-June 28, 2015, The Northwest Collage Society 2015 Spring Show: Adornment

Judith Noble, Business Attire, winner of a merit award.

Judith Noble, Business Attire

Judith Noble, Business Attire

Bellevue Art Museum, Community Education Gallery

Four members of the Surface Design Association have art in this show: Gay Jensen, Barbara Matthews, Judith Noble, and Margaret Wheeler.





April 18th, Stash Fest, La Conner Civic Garden Club 10AM – 5PM
La Conner Civic Garden Club, 622 South 2nd Street, La Conner WA 98257, (across the street from the Museum).  Several SDA members are the featured artists: Ann DarlingEclectic Global Fabrics and Designer Clothing, Cameron  Anne Mason–Whirlwind Hand Dyesand Accessories, and Bonnie Bucknam, Handwerk Textiles,Bags, Totes, Hand-Dyed Vintage Linens & Textiles, Global Textiles.


May 10, 2015, 9 am – 5 pm Jean Williams Cacicedo, Notan, the Dynamics of Design

Jean Williams Cacicedo

Jean Williams Cacicedo

Jean Williams Cacicedo

ArtX in Pt Townsend.  Building 306, Fort Worden campus. Cost of the workshop is $95 to SDA, CQA and Port Townsend Wearable Art Show artists and $110 to Non-affiliates.  (A portion of the fee will be given to the Fund for Women & Girls.)  Please contact Jeannie McMacken,




Barbara Houshmand, Three x Three

Barbara Houshmand, Three x Three

Barbara Houshmand’s piece Three x Three was accepted into “Fantastic Fibers” Fiber art show in Paducah, Kentucky.  Barbara says, “This quilt is made of my hand dyed antique kimono silks, hand dyed vintage Italian silks and hand dyed cottons.  I was inspired to make this quilt to maximize texture, color and character of each bit of cloth I used. The three bowls and three circles tend to bring order to a somewhat chaotic background.”


Call for Art—

April 15, 2015 Call for Entries to the SDA Materialities  1st International juried members’ exhibition and catalog is now open. Juror Namita Gupta Wiggers will select work that answers the question: “What do textiles/fibers and their associated processes offer artists that cannot be achieved in other media?”

Future Posts—

If you would like to see your show, sale, event, workshop, brag, or call for art in this blog.  Please send the date and time, title of show/sale/event/workshop/brag, the location, a short description, and the name(s) of SDA members participating to Barbara Matthews and Deb Taylor by the 20th of the month for publication in the 1st week of the next month.



SDA Washington Newsletter February 25, 2015


Jean Cacicedo Leach

Jean Cacicedo Leach

Jean Williams Cacicedo

We are thrilled to have Jean Williams Cacicedo, renowned innovator of the Wearable Art Movement of the 70’s presenting at the May 9th, 2015 joint meeting of the Surface Design and Contemporary QuiltArts Associations. Her presentation will be on “The Transformation of Cloth”.

Jean is known for her “signature coats”, her pieced and sewn, slashed, felted and dyed constructions have been both published and exhibited throughout Western Europe, Japan and the United States. In 2000, a 30-year retrospective of her work was featured at the Museum of Craft and Folk Art, San Francisco, California. Her work can be found in the permanent collections of the de Young Museum, San Francisco, Oakland Museum of California, and Museum of Art and Design, NYC. Jean received an NEA Fellowship Grant in 1976. She is currently a Board Member of the Textile Arts Council of the de Young Museum, San Francisco.

Cacicedo_Image2unnamedJean replaces Yoshiko Wada who had to cancel due to family issues. All Washington State SDA members are invited to attend the meeting, which will be held on the Seattle Pacific University campus from 11AM to 1PM.

 SDA Washington Traveling Exhibition

We have worked out the preliminary details for the exhibition and are now in the process of shopping exhibition venues. The juried shows are planned to rotate to at least three venues in the State in the 2016/2017 timeframe. Many thanks to the Advisory committee– Larkin Van Horn, Whidbey Island Surface Design ; Catherine Kirsch, Member Resource Team Surface Design Association; Jennifer Love, former Surface Design Association representative for British Columbia and the Steering Committee–Maura Donegan, Eastside SDA; Vicki Gerton, South Central SDA; Pat Herkal, North Penisula SDA; Judith Noble, Seattle SDA; Colleen Wootton, Whidbey Island for their invaluable input in formulating the plan. We will share news as we have it and would love to have your ideas and input!

Other News

SDA’s Financial Standing—Pledges totaling over $150,000 were received enabling SDA to move forward with such plans as redesigning the Web site and digitizing the Journal; a strategic plan is being developed. Fulfill your pledge here.

eNews–The latest eNews provided information for the ‘Materialities’ call for entries for a juried catalog and Arrowmont show.

NewsblogFeatures Cameron Mason’s installation at the 2014 Burning Man Celebration

Janet Echelman Exhibit–Janet’s installation is up at the Gates Foundation in Seattle. We were not able to coordinate a time in her schedule for her presentation to SDA Washington, however you can view the installation (best at night) from a public viewing area at the Foundation on 5th Avenue across from the Seattle Center. The installation can also be seen from I-5.

Area Meetings

Eastside – Sunday, Mar 15th, 2-4PM, at VALA Art Center & Studios, 16409 NE 74th St, Redmond Town Center. Bring your work finished or in process for show and tell with other artists.

North Central (Wenatchee, Manson, Leavenworth area) –For more information. please email Geraldine at

North Peninsula: Wednesday, March 11, 3-5 pm. Kindy Kemp’s home/studio. We’ll discuss our upcoming group show this summer. Jeannie McMacken (

North Sound (Snohomish, Skagit, Whatcom and Island Counties)— Monday, March 30th, 6:30 pm – 8:00 pm. Gail Harker Center for Creative Arts at 12636 Chilberg Road in LaConner. Contact Area Leader Linda Downing ( or Valerie Wootton ( for more information.

South Central Group — March 14, 2015, at 10 am, we will meet at the home of  Katherine Sylvan, 802 S Kellogg, Kennewick, at 10 am.  Hands on fabric printing with thickened Procion MX dye, the third layer of our surface design study.  Email Vicki Gerton ( for directions or questions.

SeattleMarch 7, 10AM-12 Demonstration of Japanese and Western papermaking at Mary Ashton’s studio, 6511 19th Ave NE.  Please bring art finished or in process to share.

South Sound, next meetings Saturdays, February 28th at the Arbutus Folk School in Olympia, please RSVP to Faith Hagenhofer,

Whidbey Island, please contact Debra Calkins <>for more information.

How to get SDA news

SDA eNews with events, calls for art, and other SDA information is emailed monthly and is also available in the ‘Member Resources’ area after you login.

SDA Newsblog for stories about events and members, click on Newsblog (

Website/Blog and Calendar of Events SDA WA web site ( You can get an email subscription to the blog notifications on the right side of the home page.

Facebook  You can post an artist event, recognition, or class…anything that might be of interest to an SDA artist.

If you have an event or information that you would like see posted on Facebook or the blog as an article or in the calendar see the ‘Guidelines for Submitting a Post’ and then email Deborah E. Taylor

Member Spotlight: In the studio with Cameron Anne Mason

Every month Lorraine Edmond will give us a closer look at an SDA member, their studio and practice.  This monthly post is a great opportunity to get to know our fellow SDA members a little better and to be inspired by our community. 

Describe your current medium and how you came to it.

I describe myself as a sculptor working in soft materials.  I dye fabric and use it as the skins for the Cameron portraitsculptures and finish everything with stitch.  How I came to it?   I always thought in 3D—I would rather make Barbie’s house than play with Barbie!  But even then, I was frustrated with the materials I had available—taping pieces of typing paper together, for example.  At the same time I was always attracted to the community aspect of performance. I went to a performing arts magnet school in Portland, Jefferson HS for the Performing Arts, for my junior and senior year. When I decided I should get a  “career” in my twenties, I went to school to study graphic design.

Near the end of my time there, I was working intently on my graduation portfolio, but had some free time and I ended up getting involved in the first Fremont Solstice Parade. It was just a week before the event, and I ended up spending every available hour working on it.  There was such a contrast between the meticulous work I’d been doing on my portfolio and these creations made to be seen from more than 10 feet away and used only once. They were scrappy, put together with no budget, they were 3D and they were larger than life.  I became very involved with the Parade, ended up being on the Board of the Fremont Arts Council for several years.  (I even met my husband there and my kids have been in it every year of their lives.) After my first daughter was born, I went back to design, but found my heart really wasn’t in it. I knew I wanted to be an artist, but I also wanted to be involved in performance.

I wanted to make things to a higher artistic standard, including more focus on craftsmanship—and things that would be used or seen for more than one day. One year the arts council brought in a visiting artist who dyed silk. (Her name was Ali Pretty of Kinetika Design in London–they did work for the Olympics and many other projects.)
I took her workshop and it changed my life. My first project ended up being a 20 foot—6-person dragon puppet!  It was huge, but I made it in modules so it could be broken down and stored and it ended up having multiple uses. I learned how to make giant puppets, inflatables, all sorts of things.  I fell in love with the fabric and with surface design.

About this time, I found Jane Dunnewold’s Complex Cloth book, and that was another life changing experience. I loved creating fabric, but wondered what I would do with it.  I decided to try art quilting and took two classes, one in piecing and one in machine quilting. Other than that, I’m self-taught for the most part. I also took a workshop with Marita Dingus, who has been another big influence. Her work creates both dimension and volume—and helped me find my way back to 3D, which had felt like a missing element when I was making art quilts.

What is your creative process like? (How do you begin? Do you draw to work out your ideas? Do you have a vision before you start or does it develop as you work?)

I take a lot of photographs.  My upcoming show is based on madrone trees and was inspired by a trip to Orcas Island I took last studio vignette-2spring.  I was with my daughter on her 8th grade camp trip and I decided the madrones would be the focus of my next show. Later, I did a solo 3-day retreat there. I’d never done that before. It was lonely at times, but I did a lot of hiking and sketching and took lots of photographs to use as source material. I knew the finished sizes I wanted to work with, so I began drawing the pieces up. Then I went back and picked the best compositions from my sketches and blew them up with an overhead projector to full size.  Everything was still 2D at this point.  I winnowed that group down and worked the best ones into 3D.

At that point I still had 18 candidates and began the process of designing the paper patterns, but 3 more were eliminated and I ended up with 15. It’s a very labor-intensive process!  Then there’s the dyeing. I can usually pull some fabrics from my stash, but I always have to dye more.  I needed big pieces for this project, so I had to dye a lot of it. Next I match up the candidate fabrics with the shapes I need.  Then I “just” make the piece!

What is your current workspace like?

I work in an old house that has 4 studios. I have about Cameron dyes250 square feet on the top floor, minus the space taken up by the large stairwell (but I do have a lot of storage under the eaves).
I have been here 11 years, and the other artists have been here between 7 and 14 years— it’s a wonderful community of artists.   I have large skylights and a mountain view and it’s only a mile from my house.  This is basically my wet studio and I do the stitching in a room at home.  The only drawback to the space is the slanted walls, which make it hard to put work up and look at it from a distance.

If this isn’t your first studio– tell us about some the other workspaces you’ve had– what worked and what didn’t. How does your physical space influence your work?

This is my first and only real studio.  I did work at home a little bit early on, but my kids were little and it didn’t seem safe to work with all the dyes and other chemicals at home then.  I worked for years in the public workshop setting for the Fremont Solstice Parade.

In that setting, people just pick up your stuff, move things around, use up materials you plan to use.  Some find that chaos stimulating, but not me. I keep my studio “clean.”  There isn’t a lot of visual stimulation around—just the current work. I like to start fresh with each body of work. Clutter is distracting for me.  I like white walls and bare surfaces. I like being able to control my space.   I have evolved ways to work here. Everything is modular.  I can use my two 6-foot tables in different configurations, together or apart, or can fold them up, depending on whether I need a long print table or floor space.  My dye washer is at home, though, so I am constantly carrying wet dyed fabrics home to wash.  I do like having a separate sewing studio, and I like working at home sometimes. There, my sewing machine is in a corner with two windows, and looks out over our cherry tree.  It’s a bright corner and I have room to move around there.

Do you have a favorite piece of equipment or technique for keeping your studio organized?

Plastic bins work for me—I have a lot of them! I use larger ones for fabric sorting and I have small shoebox sized ones for each typeCameron boxes 2-2 of tool I use.  One for just sharpies, one for brayers, one for stamps.  They’re all labeled, so I can just toss a tool in the right box and I’ll still be able to find what I need later. They all stack—it’s important to have multiples of the same kind.  The other thing is my modular tables. I use them together, apart, or fold them up if I need floor space. I use a piece of laminate on top of them to make a larger surface without a seam in it.

Do you have particular habits that you think support your art practice?

I always have a camera with me.  Almost always a point and shoot in my purse, but sometimes just my phone. My work is nature and environment based, so it keeps me checking in with what’s happening.  I use the photographs as inspiration for my work and also as documentation for my blog.

What is the best art tip you’ve ever received (or discovered)?

They call it art WORK for a reason. You have to work every day. Inspiration may strike, but you’ve got to be there for that to happen. There’s an Elizabeth Gilbert TED talk on creativity I’ve watched several times You have to be there every day and keep working. Some of what you make will be crap, but you don’t get to skip that part.  The other thing:  Be kind to yourself! Here’s the link:

What inspires you to work and how do you keep motivated when things get tough in the studio?

One word: Deadlines!  As a graphic artist, I always had them, events always have them.  I’ll apply for a show, know that the images are due by X date, then work the calendar backwards to figure out where I need to be by when. I have a matrix for my upcoming show that shows me just where I am on each piece.  I think even people just starting out should apply for shows—it’s a way to be accountable.Cameron dye book-2 I keep a lot of records—I take more notes and do more documentation the longer I do this work.  Now I have dye books that record about 10 years of experiments.  I keep the resulting swatches in plastic protectors in binders, so I can take out individual pages to work with them. When I get a new mixed color, I do all sorts of test with it—different fabrics, different discharge agents.  I had some interns recently who helped a lot with organizing those.  I also keep a studio journal for individual pieces—the final sizes, the threads and fabric I used It ends up being a page or two per piece, plus a record of what I did, and what I plan to do next. I’ve been doing that for about three years now, and I’d never go back to not doing that.

You can see more of Cameron’s work on her website and keep up with her on her blog here :

Cameron’s next show at Foster White opens March 7 and will be up through March 30.

Cameron Anne Mason to teach workshop October 15 & 16


Creating Artcloth Using Resists

Saturday & Sunday, October 15 & 16 (2 sessions), 10am – 4pm

Working with fiber reactive dyes, we will layer resists to create complexity and depth of color on fabric. Shibori binding, organic pastes, and soy wax will be used, each method creating its own characteristic marks. Students will receive handouts covering dye chemistry and safe studio practices. Techniques are easily grasped yet endlessly variable. This workshop emphasizes process and experimentation, learning to control technique while celebrating the happy accident. 

Cameron Anne Mason creates artwork that delves deeply into surface design technique, and brings that depth to her sculptural work. Inspired by nature and the touch of human hands upon it, Cameron’s art is a response to the world around through surface, form, and stitch. Cameron gets great satisfaction from sharing her knowledge with students young and old. She shares her extensive research, studio technique, and a sense for exploration and experimentation with students. Cameron Anne Mason is represented by Foster/White Gallery and has shown widely with the Contemporary Quilt Art Association. Cameron was awarded the Audience Choice Award at the Rio Patchwork Design Show in Rio de Janeiro in 2010. Cameron is a member of Northwest Designer Craftsman, Surface Design Association, and the Contemporary Quilt Art Association.

I took this workshop – it was awesome. I learned so much. Plus you get a chance to play with techniques and see what you like and what you don’t like. Great fun.  –TSP

Instructor: Cameron Anne Mason
Class Fee: $185 Click here for supply list.
Prerequisite: None
Level: All
Min/Max: 3/10
Location: artEAST Art Center