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The Autumn Museletter

After so long hunkering down at home, it felt totally surreal to travel all the way to Sweden last month. My favorite activity by far was mushroom foraging, it felt like the perfect thing to usher in the coming autumn, which is my favorite season!

I was able to do some sketching and complete one acrylic painting of a riverbank while in Sweden, which was a nice addition to the whole travel experience. I also painted a city scene of old town Stockholm in oils after coming home, and I ended up being pleasantly surprised with how simple and easy it felt to create. Often I get too caught up in wanting to make something “never seen before," with layers of meaning or quirkiness, so much so that it prevents me from actually creating anything at all. I think my priority in the coming months is to not overthink it, and focus on enjoying the process of creating, above all else.

COLOR PALETTE:

Old Town Stockholm

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This dreamy palette is inspired by Stockholm's Old Town; rusty reds, warm pinks, cozy yellows, and grounding neutrals. I don't think I will ever tire of these colors because they're all hues that exist in nature, in the stones, clay, and ochres of the earth. There's also something really nice about the shadowy, hushed feel of these colors too. They don't shock you, they feel comfortable and welcoming, like an old bookshop with creaky wooden floors. 

INSPIRED BY:

ART HISTORY:

Anni Albers - Textile Artist

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Anni Albers in her weaving studio at Black Mountain College, 1937
Photograph by Helen M. Post. Albers Foundation.

Anni Albers has greatly influenced textile art, she helped reinvent the art and craft of weaving, by experimenting with unusual materials and creating works that were entirely abstract and generally free of meaning or story. A big part of her life was teaching, she even wrote a book called On Weaving, in which she drew many precise diagrams of different weaving techniques.

 

I personally love her preparatory sketches that she then turned into fabrics and wall hangings. They feel like a deconstructed plaid, timeless yet modern. The geometric shapes create a visual rhythm that avoids symmetry/predictability, and it allows me to appreciate simple color relationships without being distracted by anything recognizable.

left: Design for a Silk Tapestry 1926, Harvard Art Museum. right: Design for a wallhanging, 1926

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Untitled, 1941. Rayon, linen, cotton, wool, jute 21 × 46 in. Albers Foundation

I sincerely hope you enjoyed this email! If you have any thoughts to share or questions, please reach out on Instagram or reply to this email. I'd love to know if anything in particular captured your fascination.

 

Until next time,

 

-Hannah