The (Ma)deline Collection, along with the Ritual Rug, is among the first products to be released under a brand I have been in the works of creating over the last year, Ma; a sustainable textiles brand offering handwoven goods utilizing only the most eco-conscious materials available such as hemp, linen and organic cotton.
The (Ma)deline Collection is a series of one-of-a-kind scarves "for the autonomous type." Each scarf is designed and handmade by myself here in Portland, Oregon on a vintage Leclerc floor loom.
Madeline is a charactar we all know. Although she was raised in an extremely conservative French society, Madeline was her own person and fearlessly challenged her rigid environment with a playfulness that made her unique and praise-worthy. With this photoshoot, I ask the question- who is Madeline now, as a grown woman? Who did this feisty young girl turn into- where does she reside, and how has she maintained her autonomas personality? In this photoshoot, we will bring Madeline back to life...as a woman.
Kelly Peyton: Product design | Creative/Art direction | Stylist
Jessie McCall: Photographer
Models: Jean Rhonica, Hannah Aronowitz
Trust in Ma is the title of my thesis project from graduate school.
The Ritual Rug™ is meant to be more than just a yoga mat. Handwoven out of hemp, these are meant to be heirloom objects that can be easily folded up and carried anywhere. Something between a nomadic blanket, a prayer rug, and a yoga mat, this durable and beautiful product embodies all the things you want in something that makes you feel more grounded and peaceful.
Ma is a sustainable textiles brand, using the most eco-conscious textiles today such as hemp and organic cotton.
Ma is a dynamic brand and business model that breaths life into the hand craft of weaving as a means of production. Ma's mindful ethos is rooted in designing resilient products that place equal emphasis on the maker, consumer, and earth.
Brand direction// Kelly Peyton
Product design// Kelly Peyton
Installation// Kelly Peyton
Photography// Shaun Daley and Kelly Peyton
This body of work displays my initial transition from working primarily as a painter and a muralist into working more in 3-dimensional space. I began using textiles as my medium and ultimately, this lead me to begin exploring weaving as a concept and way of making. Weaving is an ancient technique that is an instance of humans mimicking nature and turning it into culture. In this installation, I created two scenarios that allude to the spider weaving its web, both in the spiralic fashion and the 3-dimensional tangled web approach. One process was formulaic, slow, and calculated, while the other was hasty, haphazard, and intuitive. In both processes, I was able to enter a meditative state, where I felt totally in a state of equilibrium with my body and mind. This body of work helped lay the foundation for my understanding of the process of weaving as both ritual, and meditation.
It also lead me to ask the question- what happened to weaving (ritual and meditation) in our society?
"Depleted," gouache and ink on paper, 22" x 30" 2013
Through my art, I tend to grapple with themes of life growing out of death, an inevitable reality we all must come to terms with. It helps me to think metaphorically about death in order to accept it. Think about the function of compost, for instance; out of an abundant mixture of dead matter that is the soil beneath or feet, with the right amount of time, will, and care, life magically appears.
Once while traveling for an artist residency, I became friends with a female artist from Munich. We were out drinking beers one night, and I was sulking because I knew my boyfriend and I's relationship was collapsing and we were bound to break up. Given she was German, she had a sense of cold stand offishness, yet her response was surprisingly nurturing as she wrapped an arm around me and said "have you ever heard of Max Ernst?" (a surrealist painter) "...in his memoir, he tells a story about how he came to understand life. One day, he was called to his brother's house because his wife was about to have a baby. As he entered the house, he noticed their bird was in it's cage, dead as a doornail, feathers everywhere. Right as Ernst began welling up with anger that they could be so negligent as to let their bird die, a baby began crying in the next room. You see, something always has to die, for another thing to grow."
"A Bird Died, a Baby was Born," self-portrait and gouache on paper. 23" x 23" 2014
In 2013, I participated in a 5 week artist residency in Oaxaca, Mexico.
While searching my environment for inspiration, I quickly fell in love with the chaotic, colorful environment of Oaxaca, enmeshed with the ancient indigenous traditions, and modern political dilemmas.
This piece is a collections of over 25 small paintings which were each inspired by actual places and things I experienced while exploring my new environment in Mexico. With mixed feelings of both awe and horror of the rich Mexican culture and tumultuous status quo, this collage is a reflection of my enamored state, intertwined with a sense of sadness.
The pink crosses reference the femicide that has haunted Mexico for decades, and express my condolences and awareness as a female artist seeking to inspire women with my art. While I myself felt powerless many times in Mexico, I became increasingly aware of sexism that stifles the female voice, and chose to portray a strong, nurturing feminine figure overlooking the culture below, as if looking out for and praying for it. This figure, although appearing goddess-like, is a lesser known image of Frida Kahlo. The appropriation of Kahlo's image has been exploited throughout Mexico as a sign of nationalism. I wanted to reclaim her image, as a female, as symbolic of femininity and feminism.
This 8'x 9' wheat paste collage was met with both fury and approval. It was torn down no less than 2 weeks after it's installation.
In 2013, I was asked to paint one of five murals on the Nevada Fine Arts building in Reno, NV. It was a true honor, and it only hailed on us once.
Coyote'tat is a mural that is inspired by my interest in Native American myth and culture. For the local tribes that once inhabited the area where I grew up, including the Paiute, Washoe, and Navajo, Coyote was considered to be a god, the god that most resembled humans in all their conniving, clumsy, and resilient ways.
In our current society, we do not look to nature as a sacred teacher, and instead seek to dominate, control and ultimately destroy it. My sentiment about the aggressive attitudes towards nature such as "combating climate change" rather than "adapting to climate change" is one of distrust, and dismay. Coyote'tat is a spin on the French phrase "coup d'etat" which means an overthrow of the government. Do I genuinely think we should overthrow our government? Not necessarily... but if I were a coyote, I would probably think so. If I were Coyote, I would at least be asking our government to shut up, sit back, and listen.
Photos by Matt McIver
Muralists form left to right:
In 2011 I was the chosen artist to create an original piece of art for the Artown event which takes place every July in Reno, Nevada.
"Beneath the Surface." Gouache on paper. 20" x 33" 2011
Summer of 2012. Reno, NV.
This commemorative mural is in honor of a beloved artist, friend, and Reno icon, Beau Shaver, who passed away in 2011.
In 2012 I was commissioned to create the poster and all marketing material for the 20th anniversary of the Tour De Nez- an international bicycle race that takes place annually in Reno, NV.
This mixed-media original art work has an image of my grandpa at the age of 2 sitting on his tricycle in Sullivan, Indiana.
"Bikes, Mountains, and Tumbleweeds" Mixed-media collage and gouache on paper. 22" x 30" 2012
In 2012 I was commissioned to paint a mural on the front entrance of the brand new, beautiful Great Basin Community Food Co-op.
Paintings and drawings from 2011- present