Carol Biddle

I have been involved with drawing, painting, design and fiber arts for most of my life. The major concentrations of my undergraduate degrees were interior design, textiles/clothing and painting/drawing. Following an MFA in arts administration and a career in development spanning three decades, I retired in 2016 to recommit to art—feltmaking, in particular.

Feltmaking melds my interest in painting, drawing, sewing, knitting and textile design. Current work is basically two-dimensional, sometimes including sculpted elements that add shallow relief to the surface. The process is based on traditional wet felting techniques—using warm water, soap and friction to fuse and shrink multiple layers of loose wool fibers embellished with silk, bamboo, cotton, flax and other exotic fibers. I often include embroidery, knitted swatches, fabric, recycled materials, semiprecious stones and glass beads.

My felt wall hangings are influenced by the colors, textures and topography of both urban and natural environments, especially the colors and textures found in the Yellowstone basin. My work is also informed by felt artists such as Gladys Paulus (UK), Claudy Jongstra (The Netherlands), Marjolein Dallinga (Canada), Fiona Duthie (Canada) and Sarah Waters (UK) and painters such as Sonia Delaunay, Cy Twombly, Arshile Gorky, Paul Klee, Gustav Klimt, Jules Olitski and Wassily Kandinsky.

The felting process, technically complex, offers endless potential to manipulate texture, pattern, color and shape. Most of my felts begin with a visual sense of the colors and textures of natural environments or events that have personal meaning. Past work has been inspired by mineral pools and geysers, tree bark, lichens, rivers, rocks, topographic maps, ocean life, forest fires, etc.

I am currently working in what might be called a horror vacui series (fear of empty spaces)—felt surfaces filled with expressive color and texture. Most recently, I have started incorporating more analytical felt techniques with sculptural elements such as multilayered fins, panels and ropes that are carved into, revealing colors sandwiched within the layers.

In addition to my visual influences and directions, I care deeply about the environment. Compared to many other art media, wool felt is relatively earth-friendly by nature and most of the fibers used in feltmaking are biodegradable.

UT

Mature Amateur

I am inspired by Utah's breathtaking and varied landscapes, with a range of color from brilliant to subtle hues. This color and texture is a dominant influence in my felt making.