Lately I’ve enjoyed portraying particular trees, either for the great stories associated with them, or because of their exalted status as Designated Heritage Trees. In my search for a tree that might exemplify the true Canadian spirit to honour Canada’s 150th anniversary (and to submit to a local juried show), I came across a truly marvelous specimen who lives in Pelham, Ontario in our Niagara Peninsula.
The Comfort Maple on home turf
The Comfort Maple is believed to be the oldest and finest sugar maple tree in Canada. It lives on half an acre of land purchased by the Comfort family in 1816 and later entrusted to the Niagara Peninsula Conservation Authority, to protect it for its historical and biological significance. In 1975, the tree was estimated to be 400-500 years old by the Ontario Forestry Association. This tree towers about 80 feet at its crown, with a trunk circumference of 20 feet, which is crazy huge for a sugar maple. Despite its age and exposure to at least two bouts of lightning, this is one stunning tree in all seasons.
How to portray the story of this lone giant? I looked at all the available images from winter to fall, checking colour variations, bark texture, position of branches and location in the landscape. I found several articles that discussed its history, age, and issues of preservation. I was struck by the thought that, at 500 years old, this great old maple must have germinated in old growth forest, yet now it finds itself surrounded by tilled land with no other trees nearby. I wanted to bring this contrast of past and present into the piece.
I started with a coloured thumbnail drawing that included a field and shadowy forest in the background, shown during the day, in the fall season. But sadly, the design lacked that certain ‘je ne sais quoi’.
Drawing #1
Why not change it to night, I debated, for a stronger sense of mystery? The shadowy forms behind the tree would recall the primordial forest which existed when the maple was a tender seedling. In front of the tree could stretch the rows and furrows of its newer agricultural surroundings.
Drawing #2
Fine then, Drawing #2 it was! But… maybe a change of frame shape… should I make it a bit deeper to show more of the field rows? Hmm.
Time passed (insert sound of sewing machine, and some thread, cottons, silks, yarns)….
And voila!
The Comfort Maple
Framed textile 24×36″
In my sketches for a new piece, I rarely put in all the details. A lot of the good stuff happens right on the piece itself. I trust that as I focus on the theme for those long hours, fresh relevant ideas will come. As I began the background work I wondered how to address the long interval in time between sapling to ripe old age. What if we could tap the half-century long memory of this magnificent specimen? So I added a small closed door in the trunk, to honour the stories it might love to tell us, if only it could.
Because I’m an artist. I can do anything.
The little blue door
For colours – that particular bronzy yellow/orange from one of the fall photos was a frustrating challenge to capture. After some experimentation, I combined five different shades, colours and metallics in tiny snippets to get the right effect.
And the moon… well a rare tree like this can only occur once in a blue moon…. so that choice was made for me.
Happy birthday, Canada!
Blue Moon for the Comfort Maple
Wood artist Marv Ens of Pelham is making beautiful pens from the wood trimmed from this tree. Proceeds from their sales go to the Niagara Peninsula Conservation Foundation to continue their good work. It comes with an embossed display case and a Certificate of Authenticity. At $75, this is THE perfect gift for any environmentalist. To order one, contact Genevieve-Renee Bisson, Foundation Coordinator, Niagara Peninsula Conservation Foundation at (905)788-3135 ext. 260 Website: www.npca.ca.
Comfort Maple pen by Marv Ens.
Tags: art and science, art making, art textiles, autumn foliage, blue door, blue moon, Canada, Canada's 150th, Canada's birthday, collage, Comfort Maple, creativity, fabric, inspiration for art, native trees of Canada, primordial forest, studio work, Sugar Maple, textile, textile art, trees
Dear Lorraine,
I am forever in awe of your work. I LOVE it and have from the very first time I saw a piece unlike anything I had seen before. You are the reason I have entered the world of Textile art. Thank you!
I appreciare reading about the process and what even an experienced artist struggles with to create a beautiful piece like this. Even your scketches look great! Do you use pastels for their rich colour? I must try more of this planning stage. Thank you for sharing. Annick
Hello Annick, So good to hear from you, and thank you for your positive comments!
I use plain coloured pencils for my sketches, and they are very small, under 4″. That way I can try out lots of different ideas without spending too much time on them. The sketches are meant to be starting points but for me they are absolutely necessary.
Lorraine
I consider your art quilts to be among the best I so enjoyed seeing your process. Thanks for sharing this!
Thank you, Janice!
This is such a beautiful tree. Thank you for sharing your process. I love all the colors you used and the moon is perfect. Awesome!
Thank you, Donna. Much appreciated!
You are a true artist Lorraine! I’m always excited to see your next creation and this one certainly was no disappointment! Love the door and what it symbolises!
Thank you so much, Cathy!
Thank you, Lorraine, for talking us through your creative process. I find it fascinating to hear why artists choose one step or design or technique or colour over another. I liked seeing your final choice as well as your drawings that led to the final one. Seeing your work in person is on my bucket list.
Hello Wilma, I will be very pleased to show you the real thing any time, and look forward to meeting you!
Do you draw them out first, Jessie? Because, at least for me, if I don’t first draw the main areas, the tree shape, and work out dark/light balances, it never works out on the piece itself. I draw and draw and draw until I feel competent to make it in fabric.
Rows of trees are especially challenging because of the perspective… again, get hold of lots of photos of tree rows, and draw them out on a rectangular shape that best represents the shape you intend to use for your piece.
I tried re-creating this tree once using your technique and just couldn’t get any zing going. You’ve done a great job, and it’s fascinating following your process. You’re showing me that we have to do a lot of exploratory work to make something our own. Maybe I should try again? Or maybe not. My own inner vision of a maple tree is not a single tree, it is the row of them that lined the driveway of the farm in Oxford County where we lived when I was a pre-schooler. And since I’m trying to do a series of “picture memoirs” of places I called home, I think that those trees will appear in my work some day.