Today we’d like to introduce you to Cuauhtémoc Kish.
Cuauhtémoc, please kick things off for us by telling us about yourself and your journey so far.
My initial journey into fabric art actually took form at a place called Ayers Rock (Uluru) in central Australia. It was at this hot and bug-infested location where I managed to catch my breath after suffering the first part of a whirlwind vacation that was moving so fast, I had lost all contact with real time.
After a bumpy, wild ride on a camel near the infamous Red Rock, I happened upon a souvenir shop that featured fabric art by a heralded textile artist who boasted the moniker, Caroline Sharkey. After my purchase, I realized that Caroline was sewing up a storm at the artist-in-residence gallery near this very shop. While observing this talented quilter I made a vow to myself that I would learn how to create fabric art masterpieces, just like my newly discovered mentor.
When I returned home to San Diego, I took my first-ever sewing class in an attempt to master a simple straight line on a sewing machine. I was awarded a “Certificate of Course Completion” in Sewing Fundamentals in 2012. Following this course, I was introduced to my second mentor, Karen Cunagin. She took my hand and instructed me in the basics of fabric art, which laid the foundation to the blissful anguish and the many joys of quilting.
My signature style keeps changing but currently I’m obsessed with bright, bold silks, although I incorporate anything and everything, including leather, plant material, and cheesecloth. Most of my fabric art is rendered using a fused appliqué technique, while inspiration comes at odd times, but mostly during a very sound and uninterrupted sleep.
In 2014, I had the audacity to enter several national and local shows and had some 17 pieces juried into these exhibitions (Chandler’s Vision Gallery, La Conner Quilt Museum and the Pennsylvania Quilt Extravaganza XXI, to name a few). That count has now increased to near 100. My studio space is small (a corner of the bedroom that my dog, Yatzachi, allows me to inhabit), but it affords me ample space to conduct quilting business. And, yes, it is a business; I’ve had the good fortune to sell my work and almost show a profit on my Federal Tax Forms.
Like many fabric artists, I have become somewhat obsessed with quilting, but many who know me think that’s not a bad thing. Some members of my immediate family have blatantly opined that it’s much better for the world if I confine myself within my studio than venture out into the outside world where I may cause havoc and mayhem (mostly to myself).
Like so many before me have said, quilting has opened the door to meeting diverse and wonderful quilters and some very accomplished artists. Almost all are kind, caring, and generous individuals who respect the work and effort that it takes to finish a project. Currently I am, or have been a member of SAQA (Studio Art Quilters), Visions Art Museum (San Diego), Canyon Quilters, American Quilter’s Society, and two local group called the Sew ’n Sews and Grateful Thread. All of these groups and organizations support me on many different levels. And I would not be the fabric artist I am today without their support, as well as their truthful critiques along the way.
My journey into the world of fabric art has allowed me to express myself visually and artistically. I plan on continuing this journey for a good long time to come, as long as I’m enjoying it.
Can you give our readers some background on your art?
My art is accomplished using domestic sewing machine for the most part. Additionally, I will add stitching by hand if I am so inclined. Buttons and beads, and other adornments may be used to accentuate a project if I deem it necessary to the project at hand.
I am at a stage in my artwork where I execute for my pleasure alone. If an image pops into my head, and it remains vivid, I usually make a quick sketch of it and begin executing it. Occasionally I will accept a commission if I’m given free reign on the assignment. The most important thing to know about my artwork is that it is art; it’s not your grandmother’s quilting project.
Do you think conditions are generally improving for artists? What more can cities and communities do to improve conditions for artists?
I think the competition among artists has increased while the venues for artists have shrunk. For an artist like myself, it’s a harder sell to convince the majority of gallery owners to look at fabric art as an equivalent to painting and/or sculpture, but we are making progress. I have seen fabric art selling for $25,000, and being installed into Museums of stature.
San Diego can encourage art by providing grants and opportunities for artists to display their work. Additionally, to promote fabric art I have donated several pieces to worthy organizations such as the San Diego Dignity Foundation, (“Dancefloor Orlando),” which commemorates that horrific massacre of a few years ago.
What’s the best way for someone to check out your work and provide support?
I will be part of an exhibition in 2019 at Vision’s Art Museum called “Collage.” Our group, “Grateful Thread Art Quilters” had a recent exhibition at Mission Trails Regional Park that ended December 7. I am currently working on a commission piece, and I will accept commissions if I think it’s a good fit for both parties. You can visit my website to view my work at www.cuauhtemocqkishfabrcartist.com.
Contact Info:
- Website: www.cuauhtemocqkishfabricartist.com
- Email: cqkish@gmail.com
- Facebook: Cuauhtemoc Q Kish
Image Credit:
Cuauhtemoc Q Kish
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