“Still In Time” in Łódź, Poland (at last!)

PackageIt has been quite a chore to send the package in since Costa Rica doesn’t adhere to the ATA Carnet For Temporary Admission (a requirement to send artworks to Poland). Thanks to prompt mediation work by the Polish Embassy’s Cultural Attaché in Mexico, however, I was given permission to send my work via courier. Therefore, once DHL actually delivers (it is three days late today), I will start making travel plans to attend this prestigious triennial’s inauguration ceremonies.

Announcement Silvia Piza-Tandlich. The following is my description of my work, which was sent to the Central Museum of Textiles:

Still 9Lately, I have entered into my own life’s autumn just as the world seems to be in transition. I see myself, my mature husband, adult children, aching pets aching country aching world… all waiting for the best possible next scenario. In addition to the generalized feeling of confusion presently experienced by everyone on the planet, living in Latin America means being in a state of permanent financial crisis, yet surviving it and moving on. Nevertheless, today’s webs seem fixed in midair with turmoil underneath. Amazingly, however, this instability has turned out to be a second force guiding my inspiration.

I have developed appreciation and comfort in Indigenous creation. The expressions of Indigenous cultures are timeless, transparent, and seemly simple. As my personal life turns towards basic chores and pleasures, my artistic expression appears to flourish into a handmade mixture of Indigenous-based, contemporary elements conveying personal, political, and cultural yearnings into a visual element where past and present converge.

Piza-Tand Still in Time jpgMy work, “Still In Time” is a double-sided piece reflecting double-sided elements: past/present, naïveness/complication, modern materials applied with my own techniques, and traditional techniques used in innovating ways. Each side of the piece depicts an Indigenous mask, but there’s no telling which one represents the past or the present since both are sides of convergence.

It is my intention to reveal myself as a member of a world that tries to make us all similar, a cultural setting demanding us to be diverse, as well as an artist inspired by the environment and the times converging within me—shaping my identity, and making me unique.Still 2Still 1

…”Recientemente, he entrado en el otoño de mi vida, justo en un momento en que el mundo entero parece estar en transición. Madura me veo a mí misma y a mi esposo, ambos con hijas adultas, mascotas dolientes país doliente mundo doliente: todos esperando el mejor próximo escenario posible. Además del sentimiento generalizado de confusión —el cual experimentamos todos en el planeta— la vida en Latinoamérica nos brinda un estado permanente de crisis financiera y, aun así, sobrevivimos y salimos adelante. Sin embargo, las redes de hoy día parecieran estar suspendidas en el aire, con tumulto por debajo. Creo que es increíble, por lo tanto, que esta inestabilidad resulte ser una fuerza secundaria que pueda guiar mi inspiración.Still 3

Me encanta la creación Indígena, la cual no tiene tiempo, pero sí es transparente y parece tan simple. Mientras mi vida básica se ocupa de quehaceres y placeres básicos, mi expresión artística parece renovarse con una mezcla hecha a mano, basada en lo indígeno: elementos contemporáneos representando lo personal, lo político y lo cultural dentro de mi elemento visual, donde el pasado y el presente, se juntan.Still 5

“Suspendidos en el tiempo” es una pieza de doble cara, con elementos de dos lados: pasado y presente; ingenuidad y complicación; materiales modernos aplicados con mis propias técnicas, y técnicas tradicionales usadas de manera innovadora. Cada lado representa una máscara indígena, pero no sabemos cuál es cuál, pues ambas convergen.

Still 7

Trato de revelarme como miembro de un mundo que nos quiere a todas homogéneas; un ambiente cultural que nos pide diversidad;  un mundo artístico propio inspirado por todo lo que converge en mí misma, formando mi identidad y haciéndome única”…Still 13

—Silvia Piza-Tandlich, October 2011, Costa Rica

Still 12

After falling on the floor, the camera started to fail, but I actually like this effect!










14th International Triennial of Tapestry, Łodź, Poland/POLONIA

I have been invited to participate the 14th International Triennial of Tapestry in Łodź, Poland. The exhibition/competition will be at the Central Museum of Textiles from May 6th to Nov. 3, 2013. I am honored by this opportunity, and look forward to the event. The Łodź Triennial was first held in 1972: it is the oldest and largest specialized exhibition in the world.


He sido invitada a participar en la XIV Trienal Internacional de Tapicería de Łodź (Polonia). Esta exhibición/competencia se llevará a cabo en el Museo Central de Textiles, del 6 de mayo al 3 de noviembre de 2013. Me siento muy honrada por esta oportunidad y espero ansiosa este evento. La Trienal de Łodź se inició en el año 1972: es la exhibición especializada más antigua y más grande del mundo. —Silvia Piza-Tandlich


SDA members Silvia Piza-Tandlich (Costa Rica), and Irina Dorofeeva (Russia) have been selected to exhibit in this year’s 11th Art Inter/National competition. These two selections are the only textiles pieces chosen from over 500 proposals from all over the world in all artistic mediums.

Nicole Cappozi, owner and director of BoxHeart Gallery, explains: “The basis for an invitation to participate in The Art Inter/National Exhibition is sensitive to the diversity of work submitted; Box Heart strives to recognize that artists make art for different reasons and from different experiences. Box Heart looks closely for works that convey evidence of personal creative explorations and artistic commitment that directly relate to the purpose of the exhibition. A large part of determining the artist’s commitment to the exhibition’s theme rests solely on their ability to convey this evidence through the artist statement. The execution of the art work – as related to the artist’s intention – is then considered. Over 500 entries, from regional, national, and international artists, were received this year. Of these entries, 20 artists were selected for participation and 25 works of art in a variety of media will be exhibited.

With an ability to see scenes as a collection of lines, shadows, shapes, and contours, artists tend to see the world as it actually is. This form of seeing is the impetus behind all change. And when manifested into art, becomes the foundation for a scientifically informed account of the mind. The artwork selected for this year’s Art Inter/National Exhibition is unified by a wider appreciation for the many dimensions of uncertainty.” 

 Artist Irina Dorofeeva grew up in Russia and later moved to Indiana, USA. Often her silk works focus on nature and are inspired by landscapes, both Russian and American. She is touched by the remembrance of forests, fields, rivers, and small countries in Russia. But she is also inspired by the beautiful lakes, mountains, and shore lines in the U.S.. All these themes interconnect in her work and are the source of her art.

Silvia Piza-Tandlich is SDA Latin America/Caribbean area REP. Her handmade work, “Still In Time” is a point of convergence of past and present materials and techniques depicted in a double-sided Indigenous piece hanging from the ceiling.

6th WTA Biennial: Going to Oaxaca?

My work will be displayed at the 6th WTA Biennial’s Salon for Recyclability In Textile Art in Oaxaca, Mexico as of May 28!!!

Silvia Piza-Tandlich: Molecular Composition. Recycled afghan, fused plastic, papel picado, crochet. 2011, Salon For Recyclability In Textile Art, Oaxaca. Photo: Martha Alvarez.

Aside from the obvious thrill of chatting with artists and meeting new people, Oaxaca will feature Carolyn Kallenborn’s premiere of her documentary, Woven Lives, at the Oaxaca Textile Museum on June 2nd, which I really wanted to see.

Unfortunately, making the trip from Costa Rica to Mexico is expensive, and as my husband’s voice of reason sadly tells me what I already know, he also proposes to find “ways to fill the void.”  He’s right!

DVD cover for Woven Lives

While nothing could fill the void of not attending our own exhibit’s inauguration, so it happens that Carolyn Kallenborn does have the film on DVD for sale, and I have already requested a copy.

It also occurs to me that Carolyn has to fly herself all the way to Oaxaca at whatever price airlines charge, and then fly to the SDA Conference where she’s also giving a lecture and showing the film. I therefore, urge everyone to buy the film, and I know we won’t regret it: It’s made in very good taste, contains a lot of valuable information, and the proceeds will help Carolyn continue this type of important research. Last week I posted the film’s trailer, and I’ve seen photographs of Carolyn’s life with this Zapotec textile community in Oaxaca. This film is must-see, must-have! You can go to her website and use the payment options available

Or you can go to Oaxaca and see the exhibits at the Casa de Arte de San Agustín (CaSa) as well as the Oaxaca Textile Museum film premiere. If you go, please take lots of photos and share them with me!

—Silvia Piza-Tandlich

Encounter: Redtextilia

Encounter: IberoAmerican Textile Network (Redtextilia)

San José, Costa Rica – September, 2010

To view photos of the Encounter, visit    https://picasaweb.google.com/118006843679432349679

Irene Carlos, a Guatemalan artist working in textiles, mixed-media textiles, and television production, was a participant in the juried international Redtextilia Encounter’s competition: “Sustainable Tradition & Responsible Innovation”.

The exhibit took place at the Costa Rican-North American Cultural Center’s Wanamaker Gallery.

Below is a photograph of Irene’s work, with SDA member Lia Cook’s work in the background. Lia was a well-liked lecturer at the Encounter.

Work by Irene Carlos

Work by Lia Cook

Susan Taber-Avila, Carol Westfall, and Carolyn Kallenborn also offered very interesting lectures. Here’s Susan’s work at the Invited Artists’ Exhibit, Omar Dengo Foundation, Costa Rica:

Susan Taber-Avila, Omar Dengo Foundation exhibit, Costa Rica

detail, Susan Taber-Avilas work, Omar Dengo Foundation, Costa Rica

SDA LatinAmerican Rep Silvia Piza-Tandlich participated in four exhibits during the Encounter: The Affiliates’ Exhibit, Invited Artists’ Exhibit, Costa Rican Textile Creation Exhibit (at the Cartago Municipal Museum), and her own indoor intervention, “Metamorphosis: A New Cycle” at the National Museum.  www.galeriaoctagono.com     www.metamorfosishabitat.com

Silvia Piza-Tandlich, "Kaleidoscope", Omar Dengo Foundation, Costa Rica

Silvia’s piece on the left was chosen as background logo for the Encounter, which was the culmination of four years of association of artists of Latin America, Spain, and Portugal.

European Textile Network (ETN) President, Lala de Dios; Surface Design Association (SDA) President, Candace Edgerley; and IberoAmerican Textile Network (Redtextilia) President, Paulina Ortiz, formed a textile alliance during this Encounter in Costa Rica.

Silvia Piza-Tandlich, "Without Tobacco" Affiliates Exhibit, San José, Costa Rica

Silvia Piza-Tandlich, "Aurora", Cartago Municipal Museum

Silvia Piza-Tandlich, "Metamorphosis: A New Cycle." Fantasy intervention, 102 works within 11 spaces.

Visit the SDA Newsblog archive for November, 2010 to view SDA President Candace Edgerley’s article about the Encounter.

Carol Westfall during her conference.

Lia Cook and Rebecca Stevens (Textile Museum, Washington D.C.), give a lecture at Veritas University, Costa Rica

One of the Encounter’s most interesting activities was the Latin American Textile Fair, where many artists showed and sold crafts and materials from their own region, or their own creations.

SDA President Candace Edgerley, and members Joan Hutten and Ann Liddle at LatinAmerican Textile Fair, Mexico Cultural Institute, Costa Rica, September 19, 2010.

—Silvia Piza-Tandlich, translation