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hello welcome my name is astrid bennett i'm the president of surface design association a membership nonprofit focused on contemporary fiber and textile art i'm delighted to welcome you to this week's textile talk artists interpret climate data with linda gass and tally weinberg weinberg textile talk webinars are brought to you by the international quilt museum the modern quilt guild quilt alliance san jose museum of quilt and textiles studio art quilt associates and surface design association first a few housekeeping announcements this is a webinar your screens and mics are not showing we welcome questions which will answer at the end of all the artists presentations please submit them in the q a box located at the bottom of your screen we're honored to bring you free and inspiring textile talks programming we respectfully asked you to be courteous as you engage with speakers moderators and other participants your chat comments can be seen by everyone please use the q a for questions chat box for greeting others and survey for commentary or ways we can approve if you prefer not to see notifications from the chat you can click on the chat button to toggle them on or off this webinar would not be possible without the support of our sponsors artistic artifacts aurifil cnt publishing equilter.com misty fuse moda fabrics nine patch fabrics shifter publishing the quilt show quilt mania and empty spools seminars how do we respond to the effects of climate change pollution and contamination of our water resources what will inspire us to change our behavior today's presentation of studio practice of science for social change is fascinating it reinforces the critical role of science in understanding our world california artist linda gass will take us on a multimedia journey for behind the scenes look at the research concepts and the art making process of her artwork tally weinberg will be sharing her date escapes project a series of weavings and coiled sculptures interpreting climate data from the national oceanic and atmospheric administration linda gass will be our first presenter today this bay area artist is best known for her labor-intensive stitched paintings about climate change water and land use and she is by the way a soccer member as well she learned to love textiles as a child when her grandmother taught her to sew and embroider winner of the prestigious 2012 fleischhacker eureka fellowship award her work has been exhibited nationally and internationally including the museum of craft and design oakland museum the bellevue art museum and the u.s embassy in moscow and it has been published in books and magazines when she's not making art or championing environmental causes you can find her backpacking camping and hiking in the wilderness areas of the west where she finds much of the inspiration for her work linda we're ready for you well thank you so much for that nice introduction astrid and i'm really excited to be here today and to be sharing this talk with sally weinberg and thank you to all the rock star organizations who make these textile talks happen so now i am going to share my screen here okay are we set with the uh first slide i'm assuming so somebody will get on and tell me if i'm not so before i get into my presentation i'd like to acknowledge that i'm speaking to you today from my home in los altos which is located in the adobe creek watershed we're in the midst of a prolonged drought so the creek is dry during a time when it should be filled with water los altos is located on the historic land of the puchan and the unseated homeland of the moekna alone this land was and continues to be of great importance to this tribe i recognize that i benefit from living and working on their traditional homeland and i express my sincere gratitude and respect for indigenous elders past present and future who've stewarded this land throughout the generations so i'm both an environmental activist and an artist and i combine the two to make artwork about climate change water and land use issues my approach is to use beauty to encourage people to look at the hard issues we face i'm inspired by the connections between humans and the water and land we need to survive i work primarily in textiles usually painting bird's eye view landscapes on silk which i then stitch on a sewing machine to add more design and texture i'm interested in how landscapes change over time and climate change will have a significant impact whether it's sea level rise wildfires or how much snow falls in our mountains so my artwork begins with an environmental issue usually related to water and once i've selected an issue i do extensive research to learn more about it by doing site visits reading scientific publications talking to scientists reading about the history and seeking out historical and present day maps and photographs my research process is integral to developing the concept for my artwork it helps me to refine my choice of subject matter and the composition for my work as general research i spend a lot of time during the summer seeking out the headwaters of the streams and rivers that we rely on for survival and they're always located in the most beautiful places i've ever seen the wilderness is also where i go to find magic and refresh my perspective on life it's vast and unforgiving and it reminds me of my place in the universe you can only reach these headwaters by foot and it usually takes several days to get there so i do a lot of backpacking with my life partner rob and climate change is now impacting our backpacking trips with frequent intense wildfires becoming one of the additional challenges we face in the backcountry this photo was taken in july 2018 while hiking on the pacific crest trail east of redding california we saw smoke and an ominous pyro cumulonimbus cloud in the distance from our campsite two days later we woke up to this visibility was about 200 feet and the air was seriously unhealthy to breathe after that summer i started carrying an emergency n95 respirator mask in my backpack and who knew that this would become a scarce and essential item both for covid and the local wildfires so i'm not exactly sure how i got interested in water suit water issues but i think my subconscious interest had something to do with growing up in los angeles my mom is from luxembourg a tiny european country where it rains a lot and she tried to raise my sisters and me with the superstitions of her childhood so every night we had salad with dinner and we were told that if we didn't finish the salad it would rain the next day but everyone in los angeles knows that it hardly ever rains in l.a so we couldn't take her threat very seriously but that planted a nagging question in my mind because i was surrounded by swimming pools palm trees lush lawns and golf courses that needed a lot of water and it never rained so where did the water come from something didn't make sense to me and then one day i learned that los angeles is really a desert and it imports lots of water from far away to make it look green and i just haven't been able to let go of it since so given our short time together today i'm going to focus on two climate data driven artworks and share my research and art making process with you so the first artwork i'm going to share is about one of the most visible effects of climate change sea level rise and i made this artwork for my recent solo exhibition at the museum of craft and design in san francisco the director of the museum asked me if i could make an artwork that would show how sea level rise could affect the museum and so this is the resulting artwork see the level rise is caused by two factors one is an obvious one the melting of land ice as the earth warms and the other one is less obvious but just as impactful as the ocean warms it also expands in volume already sea level rot has risen by seven to eight inches since 1900 and the rate has increased in recent decades to about an eighth of an inch per year and we can see the effects of this rise during high tide events in the winter called king tides as shown in this photograph where the water in san francisco bay is flowing over the sea walls one of my favorite resources for understanding sea level rise is published on the website of the national oceanic and atmospheric administration referred to as noaa their sea level rise viewer shows the effect of rising sea levels on any place in the united states when the trump administration started removing climate change publications from government websites i became alarmed that i might lose this resource so i took screenshots just in case it disappeared thankfully it never did so i'm going to walk you through the screenshots i took for san francisco showing 1 to 10 feet of sea level rise you can see the impact of sea level rise is subtle until we reach a level of three feet and that starts impacting san francisco on the eastern side at five feet you start seeing significant impact in other parts of the city and the eastern side is even more impacted it became clear to me that the areas of san francisco around the dog patch neighborhood are going to be the hardest hit by sea level rise and it felt appropriate to focus on that since it's also where the museum of craft and design is located so now i'm going to zoom in on the dog patch area and repeat the sea level rise sequence so you can get a more intimate sense of what happens i've highlighted where the museum's located in magenta although the museum is spared from sea level rise much of the surrounding neighborhood is not so for the final installation i chose to make a series of three artworks one showing the present day sea level and the other tote the other two showing three and six feet of sea level rise i chose these amounts based on the scientific projections released in 2018 by the california ocean protection council a state appoint appointed science and policy advisory team projections for 2050 show a modest increase of just one foot however by 2100 the likely projections are between three and six feet and these are the two alternatives i chose to convey in my artwork if carbon emission levels fall significantly we'll only have three feet of sea level rise but if they continue at the current levels we're gonna have six feet i know a lot of people who are here today make art so i'm gonna share the process i use to make this series works because the cityscape was identical in all three artworks i decided to make one silk painting for the base cityscape and then try a technique that was new to me by scanning the original painting modifying it in photoshop and then printing the artworks digitally on silk before stitching them so here i'm showing the some of the steps in creating the base silk painting where i build up layers of resistant dye the resist is a glue-like material that i squeeze out of a bottle with a very fine tip and when it dries it contains the dye that i apply after that and these are a series of photographs i took over a period of two weeks of my progress on the silk painting and you can see how i build up these layers of dye and resist when i finished the silk painting i had it scanned with a high resolution scanner and then i used adobe photoshop to modify that image to show three and six feet of sea level rise by adding a transparent blue layer to show where the flooding occurs because sea level rise will also increase the depth of the bay i wanted to make the bay water a darker shade of blue so for starters i want to show you how i shaded the bay water to be darker to look like this okay so back to the original artwork so i can show you a quick photoshop demo of how i did this so first i create a gradient layer from lighter blue to darker blue and then i tell photoshop to multiply it with the layer of original artwork beneath it and then i reduce the opacity of the blue gradient layer to about 60 percent now i'm going to show you how i created a mask so that the blue gradient layer only darkens the bay water and not the whole cityscape so back to the original artwork i'm going to zoom in to work on it and scroll down to an area of the design that's easy to work on i put the transparent blue gradient layer back on top and now i'm going to make a mask so that the cityscape won't be shaded the orange areas you see are the mask and i'm using different brush sizes to mask over the cityscape areas now i'm going to hide the orange masking so you can see the effect of the mask see how the original cityscape painting is bright again now i'm going to get rid of this demonstration layer i've been working on and go back to the original artwork and in the interest of time i'm just going to show you the final mask layer so see how it doesn't affect the cityscape anymore next i want to show you how i created the transparent flooded areas on top of the cityscape like in this illustration so i begin by importing a screenshot of the noaa sea level rise map for six feet of flooding but it's not the same size as my artwork so i need to scale it up to make it easy to align with my artwork i make it slightly transparent and then i start scaling it up until the lines line up okay so next i make it opaque again so i can paint a mask layer using it as a guideline and in the interest of time rather than doing the demo in photoshop i'm just going to show you the resulting mask layer of transparent blue and then i turn off the noaa screenshot layer to reveal the final artwork with both the gradient applied to the bay water and the transparent blue areas in the cityscape so once again here's the artwork without the flooded areas on the cityscape and here's the final artwork again so i created three digital files in preparation for printing on silk on a large format digital printer and here's one of the photoshopped images being printed on paper backed pre-treated silk the pre-treatment bonds the printer inks to the silk and the paper backing makes it possible to run the silk through the printer so i'm going to share a few videos of stitching the artwork when i'm stitching long straight lines i like to use the walking foot on my sewing machine it keeps the multiple layers from moving around too much and this is a slow motion view of how the walking foot works which i find really mesmerizing so this is a time lapse video of how i stitch the parallel lines in the pavement areas of the cityscape using the free motion embroidery foot and guiding the fabric under the needle and here's some real time video of me stitching one of the grass areas and after i'm done with all the stitching i hem the artwork by hand before i mount it on the frames and here's the final stitched artwork of all three zero three and six feet of sea level rise now i'm going to share the research and process behind the artwork someday there may be no more snow it's about the decrease in the sierra snowpack that's occurred during my lifetime historically the mountain snowpack has served as california's largest water storage and the state's entire system of dams and reservoirs was designed with this in mind in spring the snowpack starts melting and slowly releases water throughout the summer to replenish the reservoirs climate change is causing warmer water air temperatures in winter which is reducing the snowpack because more of the moisture is falling as rain instead of snow which results in less water during the summer months the california department of water resources carefully keeps track of snow measurements at different locations throughout the higher elevations of the state and they call these locations snow courses and i've shown them here on this map the snow survey personnel go to the snow courses on a monthly basis during the winter to measure the snow water equivalent of the snowpack using special snow corn tubes this photograph was taken on the first of april which is a really important date for water resource managers because that's when the snowpack is usually considered to be at its peak the extracted core samples are then weighed to determine the snow water equivalent once the once the snow core is weighed it's converted to inches of snow water equivalent where each ounce of weight represents one inch in order to make the artwor i needed accurate data i found the raw data for the water content and the snowpack in a database from the california department of water resources but there were gaps here and there and i wasn't sure how to calculate an accurate average because of that so i reached out to some local weather gurus who connected me with some climatologists from the western regional climate center in reno they analyzed the raw data and gave me this spreadsheet with the year and the april 1st snow water equivalent and the difference from the average so now i'm going to walk you through my process of what i did with that data and how i experimented with different ways to present it in the most visually compelling way i began with a standard column graph and you can see the orange average line across the middle this graph clearly shows the wild fluctuations in snowpack in california we have very few normal years as long as humans have been keeping track flood and drought have been the norm however this chart didn't really convey the decrease in a visually obvious way so my next idea was to color code the columns blue for above average ears and brown for below to see if that would make the trend more visible but once again the graph emphasized the fluctuations but didn't convey an obvious visual decline next i tried a chart showing the difference from the average as negative and positive values also color coded this conveyed the trend especially in the last decade with five years of severe drought and although there were a couple of bountiful above average years they weren't nearly as impressive as earlier decades so i'm adding these red arrows to emphasize the downward trend i see in this data i further modified the design by coloring the columns with a gradation from white to either blue or brown making it easier to compare years that aren't right next to each other and then this is the actual artwork made from the data i wanted the artwork to have a fragile quality to it so i chose to make it out of thread lace the columns of thread lace are curved to evoke the shape of the snow coring tubes so now i'm going to show you the process of making it the lace is made by stitching a network of threads on dissolvable embroidery stabilizer so here i'm stitching spirals symbolic of water for blue above average columns to ensure the lace holds together after the stabilizer is dissolved i had to make sure the thread stitch is overlapped and interlocked in a grid-like manner so here i'm stitching the wavy lines symbolic of dry earth for the brown below average columns all the designs are guided by my hands not programmed into the sewing machine and i change the thread colors to create the gradation once the stitching is done the stabilizer is removed by dissolving it in water leaving only the thread lace it takes about 10 minutes for the stabilizer to fully dissolve and you can see how the interlocking network of threads creates a strong lace that keeps its shape i then shape the thread lace into curved columns using a fabric stiffener called paverpol i applied it with gloved hands and then i massage it into the lace you want to apply just the right amount not so much that you end up clogging the holes in the lace but enough to stiffen the lace that will hold its shape so once i've covered the whole piece of lace i formed it on freezer paper and i wrapped it around an acrylic tube that approximates the diameter of the snow coring tubes this is my little factory here when i was making all these columns so the next problem would be solved was how do you attach the thread lace columns to the wall so that the hanging mechanism doesn't show so here's how i chose to solve it i decided to use tiny super strong neodymium magnets and i've included a penny for scales so you could just see how tiny they are and then also use magnetic nails paint the nails to match the wall color glue the magnets to the thread lace and then hammer the nails in the wall and the magnets hold the thread lace to the nails the next problem to be solved how do you consistently hammer nails into the wall at a precise location exactly perpendicular to the wall and the nail has to stick out exactly one and a quarter inches my solution to create a wood block guide that's one and a quarter inches thick with a groove just wide enough for the nails and here i am installing the artwork at the museum using the guide that i created so here's all 132 nails hammered into the wall and i actually really like this just by itself it's giving me some ideas for other artwork and the moment of truth came when i had to attach each thread lace column praying that i had precisely glued the magnets and put the nails so that they lined up exactly and thankfully they did so on a final note i take the same care in creating the packaging for my artwork as i do in creating the work itself those delicate thread lace columns needed to be transported and they could not arrive bent out of shape so this is one of the four boxes that hold the 60 thread lace columns and here's one final view of the artwork again so this brings me to the end of my presentation you can see more of the work in the exhibitions listed here below and on my website as well and you can follow me on social media where i post photographs and video about what i'm up to so thank you so much for being here today and i'll be happy to take your questions after tally's presentation i'll stop my screen share now thank you linda that was really fascinating and i know we have some wonderful questions and comments and chat about your process just to remind if you have questions do look at the q a box we can try to address some of them during the q a portion all right uh our next presenter tally weinberg draws on a history of weaving as a subversive language for women and marginalized groups to create a feminist material archive in response to worsening climate crisis through sculpture drawing and textiles she draws relationships between climate change water extractive industry illness and displacement between personal and compute communal loss her work has been featured in the new york times surface design journal the tulsa voice and eco tone recent recent exhibitions include the university of colorado art museum 21c museum berkeley art museum and the center for craft tally we're ready for you right thank you all right um can you see my screen okay it looks good okay um well first uh thank you astrid lucy sda sakla and linda and everyone who has chosen to spend time with us today i'd like to start by recognizing and acknowledging that i'm speaking to you from the lands of the peoria kaskaskia bianca waya miami maskuten otawa saok mesquaki kickapoo potawatomi ojibwe and chickasaw nations these lands were their traditional territory prior to their forced removal and are still important to these nations i was born here in central illinois having recently returned after 20 years away in my lifetime i've known this land is filled with industrial agriculture land that was once vast prairie and forests stewarded by indigenous peoples now only has small pockets of these ego systems as the granddaughter of jewish refugees fleeing persecution who settled in illinois i'm aware that my own family's survival has followed upon the dispossession of others i'm also aware that the illnesses i and family members carry are connected to harm from carbon and chemical intensive life including industrial agriculture harm that stems from settler colonial patriarchal and capitalist views of the land as a resource rather than a relation the woven climate datascapes is a body of work translating climate data from the national oceanic and atmospheric administration or noaa as abstracted landscapes and waterscapes i materialized the data as weaving and coiled sculpture using plant fibers and dyes and petrochemical derived magnetical tubing i'll share a number of the datascapes as i talk about my research but i'll only speak directly to a few series within the project i started making the datascapes in 2015 as an outgrowth of interest in the mechanisms through which we come to understand climate change from data and journalistic narrative to embodied experience my focus at the time was the drought in my then home state of california and my growing awareness of how the drought as one local manifestation of climate crisis exacerbated existing injustice disproportionately harming those already marginalized i viewed the original datascapes composed of california state climate data as in part a critique of data visualization not a critique or dismissal of science i'll add data is a relatively patriarchal western capitalist and colonial form of knowledge it is very useful in its capacity to condense a vast amount of labor time and knowledge from across scientific disciplines into a form that can be consumed quickly but its value is an abstraction is also potentially a shortfall in the selection of what is communicated through data much is obscured including the material origins of the data and the violence that climate change really is families use walls or dry even as the farms next door grow food for the wealthy the landscape irreparably scarred by extractive industries the native people whose sacred sites and the water we all rely on to live is destroyed for the sake of corporate profit in choosing to weave the data i am reinserting time labor materiality and other forms of knowledge knowledge that's embodied gendered female indigenous and relational rather than representational in this somewhat hippie statement i do not mean to suggest that indigenous knowledge is one thing or to reinforce the gender binary but rather to say there are knowledges and people who have been systematically devalued by those who uphold patriarchy and settler colonialism weaving and embodied practice is devalued within these systems because of who has traditionally done the work but weaving is also tied to global histories of resistance and has served as a kind of language for women and marginalized people throughout time and it's a practice that situates one in relation to the world to other laborers to ecosystems to materials with ecological and social histories for better and for worse after the 2016 election climate scientists and activists rightly feared that data and other knowledge would be erased by the incoming administration spurring an effort to copy and preserve up to this point my concern had been for the vulnerability of bodies and i hadn't really understood the data's potential vulnerability in the wake of the 2017 inauguration climate information did indeed start disappearing from government websites and environmental agencies were silenced this attack on climate knowledge went hand in hand with policies of increased climate violence as major pipelines were greenlit and rules protecting water and air from irreversible toxic contamination were rolled back in this context i started to view the work as a kind of archive turning to this history of weaving as a subversive language for women and marginalized people in this political era i saw the work of the datascapes less as a critique and more as my attempt at re-weaving and intentionally obscured relationships relationships between climate change water extractive industry illness and displacement between disparate places between personal and communal loss and between corporeal and ecological bodies concurrent with the 2017 inauguration i moved from berkeley california to tulsa oklahoma to start a residency tulsa was once known as the oil capital of the world and is still economically and culturally tethered to oil and gas extraction following the lead of others in the climate community the first task i gave myself upon move upon moving was to copy the full content of the public-facing noaa database that i'd used for my work while in california as i immersed myself in this database i became increasingly attentive to how the data is aggregated presented primarily along politically defined borders in other words how a form of knowledge that we take for granted is objective is shaped by other systems as donna haraway puts it in her book staying with the trouble it matters what thoughts think thoughts it matters what knowledge is no knowledge is it matters what stories tell stories it matters which concepts think concepts with a growing awareness of settler colonialism and the relationship between the violence of oil extraction water health and indigenous land rights i was hesitant to continue reinscribing the borders defined by a settler colonial state in my work one of the works to emerge from this attention to aggregation and my desire to avoid this state and country data was fractures woven in early 2018. each fracture is an interpretation of 137 years of annual average temperature that adds up to the full globe but each is woven in panels reflecting different ways the world is divided by noaa rather than side by side the panels are stacked one part of the world holding up another our human life on land resting on and putting pressure on the ocean or the global north on the corner on the shoulders of the global south there's a lot of sky in oklahoma and living in tulsa i often looked up when i sought natural beauty sunrises and sunsets were particularly stunning with so much particulate matter in the air from oil refineries fires and traffic incineration a reflection of the time i spent with the sky the data for fractures ended up taking shape as horizon lines sunrises and sunsets but this particulate matter is not above an external contained in a beautiful sky as so many more are acutely aware after this pandemic year the air connects and is part of us as are the toxicants it carries moving in out and through our bodies bringing asthma cancers endocrine disorders and multiple chemical sensitivities as i worked on the datascapes project from 2015 to 2019 the climate crisis only got worse by the day touching more and more of us directly with fires floods droughts and more meanwhile those in power continued to expand fossil fuel extraction while interfering with the production and safe keeping of climate knowledge and seeding divisiveness the increasing violence of extraction was then justified using the same patriotic language employed by politicians to justify wars fault lines also from 2019 points to the direct relationship between extraction in the state in 2018 the us became the largest extractor of oil and gas in the world a title claimed through use of the ever more violent methods of hydraulic fracturing and deep water drilling fault lines is comprised of 94 to 125 years of temperature data for each of the top six oil extracting states in the us texas north dakota alaska california new mexico and oklahoma the color palette drew from sedimented earth and oklahoma's landscapes from red clay soil to prairie grass parts of the cloth are left unwoven pointing to the scars and voids resulting from extraction and the panels are roughly stitched together revealing fault lines that reference breaks in the earth and also a fractured social structure the size of the piece nine and a half feet by five feet mimics that of flags used to drape military coffins a nod to the patriotic language used to justify the violence of extraction and the many casualties it leaves behind human and non-human inside and outside of the industry the dislocation series from 2019 begins to consider the relationship between climate crisis and displacement my personal disjointed relationships to places i've called home and how harmed unto the oceans affects everyone whether on the coast or inland all right differently albeit differently and unequally each piece is an interpretation of temperature data for a place i once called home interwoven with data for the world's oceans i returned to using data defined by state borders while blurring the distinction between borders politically defined and those that are not one line of data from the state one from the ocean one from the state one from the ocean the colors and structures are based on my memories and connotations of a place's landscape and the industrial agricultural cornfields that pervade central illinois new york city's gridded streets and skyscrapers okl homa's iconic red soil and the hills of central california that went from year-round flowers to seemingly year-round fires the last pieces i'll share i worked on from 2017 to 2019 with the assistance of nine women found is comprised of up to 137 years of temperature data for 300 places around the globe materialized with 1500 feet of yarn wrapped petroleum-derived medical tubing divided into five foot lengths the yarn is dyed with plant and insect-derived dyes and mineral mordants a global practice that stretches back to long before the age of oil and the production of petrochemical derived synthetic dyes each dataset expressed with this yarn along a length of tubing is temperature data for a different city state or region of the world from obsessively copying the noaa database in 2017 i had spread heats with hundreds of data sets sifting through the data it was usually easier to see the clear progression of warming at larger geographic scales our individual experiences of climate crisis are of course not legible in such data those experiences are vastly unequal shaped by intersections of human caused changes and weather patterns with race gender class health disability geography and local policy while our local and personal experiences of climate crisis are unjustly different we are all still in a way materially bound together we are also bound up with the fossil fuel industry in tulsa with the embodied experience of living in a place that had been made toxic by oil and gas i felt this entanglement acutely there's a relationship between the damage done to the earth and the damage done to our bodies by the petrochemical industry and yet our lives have also become reliant on and entangled with it petrochemical pipelines penetrate the earth petrochemical derived medical tubing is a pipeline that runs through and around our bodies used for chemo drug delivery and other medical interventions for illnesses that often have the same causes as ecological destruction because i worked on bound for two years i exhibited it iteratively thinking of each installation as a way to reflect different aspects of climate crisis in the first included in an exhibition about land use in oklahoma 15 of the tubes took form as a 24 inch by 60 inch by 10 inch knot a landscape crisscrossed by oil and gas pipelines in the second installed in asheville north carolina shortly after hurricane florence swamped the state 32 tubes took form as the swirl of a storm moving across a weather map in the third i knotted together the tubes for three recent homes new york san francisco and tulsa in the fourth the tubes became a carpet climate crisis as the ground we now walk on and finally in the fifth for a show in oklahoma the first to include all 300 tubes or all 300 data sets i installed bounds stretched out to ten feet by six feet reflecting at that time on one local manifestation of climate chaos that had shocked tolson's six months earlier in the spring of 2019 when a month of extreme storms transformed the polluted arkansas river from a trickle to a roar overflowing its banks and swallowing up homes i will stop there and i thank you and i look forward to your questions thank you tally appreciate everything you've shown and uh we have i'm sure some comments from everybody thank you and uh linda if you would like to get back on camera we'd like to tackle a little bit of the question and answer i know there's been a lot to absorb right now so but our time is limited so i'm going to move forward with questions we had one fairly substantial question that was interesting much of the world population does not have access to art venues where much of the environmental art has shown what would you suggest for environmental art to best reach the general public especially those populations who are being most impacted by climate change linda do you have a thought about that at all or we could come back to it later too yeah that's a really uh important question that i don't have a good answer to um you know i'm tempted to say uh sharing the art virtually but that requires an access to the technology to see the art virtually um so i don't know that's something to work on i i don't have a good answer i'm sorry great question though uh i i would just add i'm curious like who the populations are who aren't accessing and and what they aren't accessing because one thing to think about is um you know so many people are making this work from within their own communities and from it within their own situations and um it might also be that we're not seeing some of the work um that's being made that's true that's true and and now with the internet we have ways to get the world the work out that's hyper local and get it out too well a lot of our other questions dealt with a little bit more technical side of things we had several questions linda about the digital printer and what kind you use and um what kind of silk are is this something you're using within your own home or you're using it within uh facility yeah i had a professional printer do the printing on a very large format printer it was probably about 60 inches wide and it was an epson printer so that was how i did it and it was really lucky because the printer actually is in the same building as my studio and there was no way to do a color calibration between my scans and his printer so i brought my laptop in and we were running test prints and that was how i did it was so convenient that's great and that is you use a silk that's pretty i think it's pretty widely available that yeah the silk i used comes from inkjet fabrics which is a affiliate company of jacquard products who makes the silk dyes that i use wonderful we did have some questions about uh if the data that you use from noaa and so forth if it's if you're able to use all that you know the screen shares and so on without any copyright infringement if they're available to all as sort of open source so anything that's produced by the us government is copyright free and available to any u.s citizen to use so there's no problem with that yeah tally did you have any comment about that too because you did the same thing and downloading a lot of data yes i'm using uh work from a public facing database that anybody can access online um and use as they would like as well yeah okay um we had a question we got some more questions in chat but anyway we had a question about just a second berlin degas do you take any steps in your work to use materials that are environmentally environmentally safe as possible yes i absolutely do so the dyes that i use are officially labeled as safe non-toxic by osha and i use a water soluble resist so that i'm not using a product that's petroleum product based and it also doesn't need to be dry cleaned out the batting that i use is recycled polyester and what other i'm blanking on others but i do other things as well okay um let me see um tally we had a question about how you wrap the tubes um they're they're coiled um so just take the thread and hand wrap it that's it okay there's no there's no knotting or anything um so basically um in order to end one piece i just start the next thread over that one and keep going yeah and we had a question also um do you see uh any of the natural dyes and wardens in your bound series to have healing properties if you will to balance the petrochemical medical tubing um so working with plant and insect derived dyes is um you know a way for me to connect or like feel a different kind of relationship to the world and but i also try to be careful like i don't want to uphold the plant and insect derived diets as some kind of like environmental purists um purism which is in part actually what led me to start incorporating more petrochemical products into my work um the medical tubing and i also work with fishing line for some work about the oceans um so i do see them as like a kind of counter to each other that contrast um is important but yeah um that makes sense that makes sense um we did have a question uh have you found any data that is positive giving us reason to hope for the future of the environment in in all your i mean you did linda point out the fact that if there's a foot rise versus the six foot rise that that is different but is there anything in the data sets that was surprising linda do you want to go first dude you know actually the data that i've looked at um hasn't been super hopeful but you know aside from data i do see hopeful things in terms of actions that people and local governments are taking so you know i don't know that any of that you know tally alluded to this in our talk there's a lot of things that's not captured in the data that we collect and process and have access to so i see a lot of anecdotal and experiential things going on that give me hope yeah tally yeah i have a couple answers i mean hope hope isn't a word i use a lot when i'm thinking about climate crisis like the reality is that we're in it and it's happening but we do have choices about how bad it gets um and some of what you see in the data is how much human action plays a role and because of that it means that we can take human action to curtail how bad things are gonna get right like um during the dust bowl you actually see warmer temperatures in the central south central us and that was because of horrible agricultural practices at the time so if you see in the data how um how humans are making things worse then you also see that there are choices for making things better um i mean i do think that you know because of some incredible grassroots activism over the years we now have an administration who is less horrible and seems to be listening to a certain extent to those who are most marginalized and actually taking seriously the need to cut carbon emissions but yeah great we did have some people ask are uh i know linda you're doing some public art proposals right now i it seems to me that that's a way to incorporate some of this data and this concept into a wider public audience is that part of the basis in other words are you using some of this in these other proposals you're working on or could conceive working on well um the public art commission that i'm working on right now isn't climate data related but it does have an environmental theme in it it's about the watersheds of los altos and that's probably about all i can say about it at this point since we're in the early phases of the project but i will be sharing more over the coming months so um but one of the things that yeah i'll i'll just leave it at that well and we know i i put out a uh a prompt to get people to check instagram because we know we followed a number of your projects from the past where you're dealing with the plantings and so on in environmental sensitive areas so it's very interesting um tally i didn't i didn't know if you had something to add to that so no okay well another couple of just quick questions um the stiffener you use linda can you uh repeat the name of that yeah you know i can just put it in the chat but it's powerpop e r p-a-v-e-r-p o l i think it is so okay that's great you know how it is these groups we all have our favorite uh questions about technology it's really funny like to me it smells like white glue that might be all it is but yeah it's a specially marketed fabric stiffener yeah um and i guess one more question for tally here can you talk more about the different iterations of bound do you discover could you consider each form to be ephemeral to a specific exhibition or might you recreate the same overall forms from earlier iterations in future displays um i mean i think it's possible that i would recreate them so all of the tubes are individual and get installed and configured for each show um and you know i'm always kind of responding to context so i'm not sure that forms will ever be exactly the same um but you know certainly like that storm map form i think will appear in other ways in future iterations um their rug form will appear in other ways in future iterations but they won't be exactly the same okay well that's a good question and we did have someone in chat saying that pavapol is no longer being manufactured so we may have to look for alternatives so um i want to thank you all and definitely thank our listeners today please allow me to organize myself here thank you um we've had a wonderful presentation by linda and tali and it's wonderful that our audience can join us we hope you've been inspired today finding tools for analysis and action as well as studio practice we i want to put on a thank you once again for our sponsors and our just one second here our important sponsors that make this series possible we want to thank soccer for hosting us the recording will be available on youtube in the next week by the way this was the 43rd textile talk presentation and those are all on youtube on the playlist next wednesday march 10th textile talks hosts conversations with the artists season after season sponsored by sakwa and at this time i'd like to thank you all for attending and enjoy spring as it starts to poke forward with its annual renewal after a long winter thank you all