 March 2006 |
Weaving Wonder into Traditional Basketry
Jan Hopkins • Online Exclusive • March 2006
| Everett, WA-based basket maker Jan Hopkins has built her career and reputation on creating contemporary basketry with natural materials. But the majority of her training has been with traditional basket makers, learning time-honored techniques and processes. That knowledge has enabled her to explore a wide array of materials. Hopkins has used such things as citrus peels, sturgeon skin, black bamboo in combination with silver dollar seed pods, Agave leaves and lotus pod tops by creating more sculptural and figurative pieces. She is also exploring graphic designs that are “puzzled” together. Hopkins says working with materials that are not often used or associated with basketry gives her unlimited opportunities for innovation. |  |
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Walking on Eggshells, Dimensions: 9"x9", Date: 2004, Technique: A double walled basket with grapefruit peels stitched together and molded. Materials: grapefruit peels, waxed linen, hemp paper, ostrich shell beads and yellow cedar bark, Courtesy: Jane Sauer Thirteen Moons Gallery‚ private collection. |
TCR: How did you get involved in making baskets?
JH: In 1984, I visited Arizona for the first time to attend my sister's wedding. We visited the Heard Museum while we were there. There was a basketry exhibit of Southwest basketry displayed. The basketry made by indigenous makers really caught my eye. Upon closer examination, I found out that the materials used were all natural materials gathered, prepared and woven. I was amazed at the refinement and skill it took to make these beautiful baskets. It was at that point I decided I wanted to learn how to make baskets.
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| Fated Crossroads, Dimensions: 9.5"x7.5"x7", Date: 2001, Technique: sturgeon skin molded and sewn together lined with Japanese rice paper, Materials: sturgeon skin, waxed linen, bull kelp and paper. Photo Credit: Jerry McCollum, Courtesy: The Fountainhead Gallery, private collection |
TCR: How did you start to incorporate unconventional materials into your work? Did you just decide to try it on a whim one day, or had you always planned to take your work in new directions, after you learned the basics?
JH: I was always interested in working with natural materials. I was raised on a farm in Idaho, so I guess you could say I grew up surrounded by future possibilities. I didn't start out thinking I was going to use unconventional materials specifically, I realized while I was learning about traditional basket makers that the early indigenous basket weavers searched and gathered materials in their region. I was amazed at how they were able to find ways to use bark, leaves, roots, grasses or pods and process them to weaving baskets. Some materials that the Southwest makers use such as devil's claw to add a beautiful black color to their baskets are formidable pods, but makers found a way to process and use them. I decided that there were many other materials out there that had possibilities. I became obsessed with that idea and started looking at everything as possible basketry material. My focus on working with alternative materials was to process them so that I could retain the natural beauty and texture of the material. I also discovered that when I used alternative materials, I also found I had to come up with unconventional techniques to compliment the design and texture of the materials.
TCR: What are your criteria for choosing materials to include in your work?
JH: Everything is a possibility. There are some materials that are better than others; I do a lot of experimenting to find the best time to process and preserve a material. Sometimes it takes me several years of experimenting to make sure it is stable before I actually use it in a piece.
TCR: How have you pursued your business? Can you provide a brief timeline of when you got started, and how your career has evolved?
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| Minerva, Dimensions: 20"x17"x9", Date: 2004, Technique: cherry bark woven and stitched together with coiled cedar bark Materials: cherry bark, Alaskan yellow cedar and waxed linen Photo Credit: Wendy McEahern, Courtesy: Jane Sauer Thirteen Moons Gallery, private collection |
JH: I have 4 children and I take care of my husband's business, so I decided to work with established galleries from the beginning so that I could focus my time on making work and not worry about selling it. I try to choose galleries that have a natural aesthetic or an ambiance that my art works best in.
In 1988 we moved to the Seattle area I began learning basketry at a newly opened Basketry School in Seattle. After a year and a half I was asked to teach basketry at the Basketry School and I started to show my work in local exhibits and galleries (one that continues to represent me is The Fountainhead Gallery). In 1998 I decided that I would pursue venues nationally. Not knowing how to go about it, I decided to enter a national show that happened to be sponsored by the Seattle Weaver's Guild. Mobilia Gallery from Cambridge, MA went to the show and picked up several basketry artists at that show, including me. Mobilia also represented my work that same year at SOFA Chicago and SOFA NYC. Shortly after that, I went to the HGA basket conference at Arrowmont and met many different makers from across the Nation. I met artists that were very supportive and who recommended my work and recommended me for shows and National exhibitions. I feel like things snowballed from that point and I was suddenly in a national market.
TCR: Who is the market for your work? What is your strategy for reaching them?
JH: I believe the region and the gallery that shows my work has a lot to do with what market I am in. I have been lucky enough to work with galleries that have clients that buy my work at a range of prices. My best strategy is to work with galleries that like my work and gain knowledge about the work. The more knowledgeable the dealers are about the artist and the work they represent, the better connection the client has to the maker.
TCR: Where does the bulk of your business come from...is it wholesale shows? Direct to gallery sales? High end retail shows? Commissions? How do you make your living from this art?
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| Unigmu, Dimensions: 39"x10", Date: 2005, Technique: interior vessel molded silver dollar pods of man’s faceless head with a mask floating above the head. Interior lined with weathered hydrangea leaves. Materials: silver dollar pod centers, weathered hydrangea petals, black bamboo, paper and waxed linen. Courtesy: Jane Sauer Thirteen Moons Gallery, private collection |
JH: I sell through galleries. My life is split into three parts. I take care of my husband's business in art, my own business and take care of my family. Like most women, I juggle!
TCR: Have there been major turning points in your business?
JH: I think my career in basketry has had many turning points, one leading to the next. The first significant turning point was when I started showing with Mobilia Gallery and the first basketry conference I attended as I described earlier. Another significant turning point for me was an invitation to a show in Santa Fe at Thirteen Moons Gallery, guest curated by Jane Sauer. I believe she elevated the interest in my work. She is enthusiastic and knowledgeable, comes with a great deal of authority on basketry and as an artist; she is very sensitive to the needs of artists. She has been a mentor to me and many basket makers in the field. She is now the owner of the Gallery and continues to represent my work.
TCR: Do you see any business challenges specific to artists who work in high end/art basketry? How have you overcome these?
JH: Fear of rejection, fear of not selling. I don't think you can enter this market following trends and trying to create work that "fits" the market. I believe the best way to enter a higher end market and overcome the fear is to simply focus on doing the best work you are capable of making, develop a solid style that is yours alone, have good gallery representation and surround yourself with family and friends.
TCR: What has been the most difficult thing you have encountered in your work?
JH: Deadlines and over scheduling! I have found that each year my work gets larger and more complex. I know that I tend to think that I can do more than what I am capable of accomplishing.
TCR: What, in terms of business insight, have you learned to do or not to do over the years?
JH: Be a professional. Know that taking care of paperwork; meeting deadlines and having professional images of your work are very important. Try not to procrastinate about the business part of my work. Also, have good communication with the galleries or museums I work with.
TCR: How has the Internet affected your business?
JH: The internet has had a positive affect on my business. It allows quicker communication. I send images via e-mail and receive immediate response. The information on the internet is so vast and such a valuable resource. I don't know how we got along without it. I don't have a website personally, but the galleries that represent me do and it seems to be an invaluable tool. This interview is a good example. This whole interview was accomplished via the internet. I will never cease to be amazed!
TCR: What is the next step for you?
JH: I will continue explore new materials and techniques. Basketry has taken me on an incredible journey that I will continue to follow.
TCR: What is your show Schedule…if you have one…and where is your work available and through whom?
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| Can"t Elope, Dimensions: 33"x15"x10", Date: 2005, Technique: cantaloupe peels sewn and coiled together with cedar bark, Materials: cantaloupe peels, Alaskan yellow cedar and waxed linen. Photo Credit: Wendy McEahern, Courtesy: Jane Sauer Thirteen Moons Gallery, private collection |
Looking Forward, Glancing Back: Northwest Designer Craftsmen at 50
October 27, 2005 - February 26, 2006
Bellevue Arts Museum
Bellevue, Washington
www.bellevuearts.org
Intertwined: Contemporary Baskets from the Sara and David Lieberman Collection
December 10, 2005 - April 1, 2006
ASU Art Museum - Nelson Fine Arts Center
Tempe, Arizona
http://asuartmuseum.asu.edu/liebermanbaskets/index.html
Extreme Materials
January 29th - April 9, 2006
Memorial Art Gallery, University of Rochester
Rochester, New York
www.mag.rochester.edu
5th International Fiber Biennial, curated by Bruce Hoffman
March 3rd - April 29, 2006
Snyderman-Works Gallery
Philadelphia, PA
www.snyderman-works.com
Basket (R)evolution, curated by Libby and JoAnne Cooper
May 13, 2006 - September 10, 2006
Fuller Craft Museum
Brockton, MA
www.fullercraft.org
SOFA NYC, Represented by Jane Sauer Thirteen Moons Gallery
June 1 - June 4, 2006
Seventh Regiment Armory
New York, NY
www.sofaexpo.com
Natural Origins - Contemporary Basketry 2006
July 6 - 30, 2006
The Fountainhead Gallery
Seattle, WA
www.fountainheadgallery.com
Baskets: Beyond Structure
August 11, 2006 - September 4, 2006
Jane Sauer Thirteen Moons Gallery
Santa Fe, NM
www.thirteenmoonsgallery.com
SOFA Chicago, Represented by Jane Sauer Thirteen Moons Gallery
November 10-12, 2006
Navy Pier
Chicago, IL
www.sofaexpo.com
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| In Motion, Dimensions: 9"x14"x9", Date: 2005, Technique: Grapevine wrapped with waxed linen and coiled yellow cedar bark Materials: grapevine, waxed linen and Alaskan yellow cedar bark. Photo Credit: Ken Rowe. Courtesy: Mobilia Gallery |
My work is available at -
The Fountainhead Gallery
625 McGraw Street
Seattle, WA 98119
(206) 285-4467
fountainheadart@qwest.net
Mobilia Gallery
358 Huron Avenue
Cambridge, MA 02138
(617) 876-2109
mobiliaart@aol.com
Jane Sauer Thirteen Moons Gallery
652 Canyon Road
Santa Fe, NM 87501
(505) 995-8513
thirteenmoonsgallery@earthlink.net