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GALLERY HOURS
Monday 9am - 12pm Tuesday 9am - 12pm Wednesday 9am - 4pm Thursday 9am - 8pm Friday 9am - 4pm Saturday 12pm - 4pm Sunday 12pm - 4pm |
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ON VIEW:
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A BAILEY FAMILY LEGACY
There was a time when clothes were homemade and a 1939 Singer treadle sewing machine was a fixture in the household. Sewing was a form of creative expression but also a practical endeavour, especially if a family lived on a limited income. The Bailey family, which included six children, ran a mixed farm in Oxford County near Woodstock, Ontario. Money was tight. There were four girls spanning in ages across 15 years, which meant there were always pairs of skilled hands to help keep the family well clothed.
The current exhibition in the WAG, Four Sisters Art Show, honours Rheta Bailey, the matriarch of the family, who supported all of her children’s creative undertakings, and who died in 2014. For this show the Bailey girls—Evelyn, Jean, Shirley and Linda—sorted through the garments that had been kept, some for over 50 years, in order to trace the trajectory of the family from farm to far-flung settings across Ontario.
In mounting this exhibition, curator Shirley Bailey staged individual “scenes,” organized according to decades and given context through the inclusion of pages from the family scrapbook. In addition to photographs, which sometimes show the item of clothing being worn, we might see Rheta’s meal plans or farm ledgers detailing income and expenses.
The exhibition begins in the 1950s with a display of children’s smocked flannel nighties and embroidered jumpers made by Rheta and the older girls. The iconic Singer anchors the scene.
As we move through the 60s and 70s, wedding and graduation dresses take the stage, with fabrics appropriate to these special events: brocade, satin, lace, gauze. A surprising and admirable addition is a going-away outfit that Jean made for the man who would be her husband. These decades highlight some of the girls’ artistic creations, including a macramé purse and a macramé wall hanging, cultural icons of the times, as well as aniline-dye silk scarves. Perhaps in keeping with the spirit of the 70s, this scene also includes a gardener’s smock in unbleached cotton, which Shirley made for her then boyfriend.
As the 80s marched along, all four sisters raised children as they worked. This meant beautiful christening gowns and classic shirtwaist dresses. In the 90s scene we see a girl’s first communion dress and two girls’ fancy dresses typical of this period. The juxtaposition of workmanlike garments and special-occasion pieces confirm not only the four sisters’ range of skills, but also point to the societal changes the Bailey family experienced.
The turn of the century ushered in an era of artistic experimentation with fabric. For Shirley it began in the 2000s when she made a teddy bear for her mother, who had an affection for stuffed toys. After 2010 the sisters made traditionally patterned quilts in large and small sizes. One of Shirley’s small quilts, a true homage to the family farm, perhaps marks her branching out into textile art. Today she does relief prints using linocuts on hand-dyed fabric.
Four Sisters Art Show chronicles the interesting evolution of four women’s talents--from creations born of necessity to works that are the result of unbridled artistry. Choosing the pieces was an emotional journey, says Shirley, because “honouring our mother was often associated with important life events.”
Written and Photographed by Ulrike Bender, Gallery Volunteer
The current exhibition in the WAG, Four Sisters Art Show, honours Rheta Bailey, the matriarch of the family, who supported all of her children’s creative undertakings, and who died in 2014. For this show the Bailey girls—Evelyn, Jean, Shirley and Linda—sorted through the garments that had been kept, some for over 50 years, in order to trace the trajectory of the family from farm to far-flung settings across Ontario.
In mounting this exhibition, curator Shirley Bailey staged individual “scenes,” organized according to decades and given context through the inclusion of pages from the family scrapbook. In addition to photographs, which sometimes show the item of clothing being worn, we might see Rheta’s meal plans or farm ledgers detailing income and expenses.
The exhibition begins in the 1950s with a display of children’s smocked flannel nighties and embroidered jumpers made by Rheta and the older girls. The iconic Singer anchors the scene.
As we move through the 60s and 70s, wedding and graduation dresses take the stage, with fabrics appropriate to these special events: brocade, satin, lace, gauze. A surprising and admirable addition is a going-away outfit that Jean made for the man who would be her husband. These decades highlight some of the girls’ artistic creations, including a macramé purse and a macramé wall hanging, cultural icons of the times, as well as aniline-dye silk scarves. Perhaps in keeping with the spirit of the 70s, this scene also includes a gardener’s smock in unbleached cotton, which Shirley made for her then boyfriend.
As the 80s marched along, all four sisters raised children as they worked. This meant beautiful christening gowns and classic shirtwaist dresses. In the 90s scene we see a girl’s first communion dress and two girls’ fancy dresses typical of this period. The juxtaposition of workmanlike garments and special-occasion pieces confirm not only the four sisters’ range of skills, but also point to the societal changes the Bailey family experienced.
The turn of the century ushered in an era of artistic experimentation with fabric. For Shirley it began in the 2000s when she made a teddy bear for her mother, who had an affection for stuffed toys. After 2010 the sisters made traditionally patterned quilts in large and small sizes. One of Shirley’s small quilts, a true homage to the family farm, perhaps marks her branching out into textile art. Today she does relief prints using linocuts on hand-dyed fabric.
Four Sisters Art Show chronicles the interesting evolution of four women’s talents--from creations born of necessity to works that are the result of unbridled artistry. Choosing the pieces was an emotional journey, says Shirley, because “honouring our mother was often associated with important life events.”
Written and Photographed by Ulrike Bender, Gallery Volunteer
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UPCOMING:
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Window Art Gallery is dedicated to showcasing artwork from contemporary artists and collectives working in a variety of media. WAG strives to present artwork that reflects and uplifts diverse voices from the Katarokwi-Kingston community.
Window Art Gallery maintains an open call for submissions and welcomes applications from emerging, mid-career, and senior artists. We are accepting submissions for 2023-2024. |
