Maison de Vicor Hugo, Paris, France

I read both Les Miserable and The Hunchback of Notre Dame when I was a teenager, my era of doing deep and thorough dives into the classics, and love Victor Hugo as a result. When I was looking for a museum that was small and hopefully not too crowded and not too far from our hotel for a recent Paris trip (I was trying very hard, maybe too hard, to avoid being jousled as I was less than two months past a shoulder replacement--I did not want to give up the trip, but also didn't wan an unforced error), this one was suggested. This intimate museum is located in the southeast corner of beautiful Place des Vosges. Stroll around the square to number 6 and look up to the second floor to see the windows where Hugo once lived. The buildings surrounding the Place des Vosges were inaugurated in 1612 in honor of Louis XIII’s wedding to Anne of Austria, and they’ve always been a fashionable address in Paris. Victor Hugo moved into an enormous 3,000 square foot apartment in October 1832 with his wife Adele, and it is here that Hugo wrote much of his most famous work Les Misérables and many other important works. The entire building was converted into a museum dedicated to Hugo’s life and works, and is now managed by the City of Paris. Inside the museum, visitors can explore a reception hall with family portraits, a salon (my favorite room) with an impressive collection of Chinoiserie, or Chinese style art and design, a family dining room, and Hugo’s bedroom with his original writing desk. Hugo’s creativity and passion extended well beyond writing, and the museum displays some of his drawings and the Gothic-style furniture he designed. It’s such an unique experience to be so close to where Hugo lived and to see the moments of daily life frozen in time. Hugo had the unusual preference to write standing up, and you can see how high his writing desk was compared to a nearby chair--ahead of his time. I very much enjoyed this and it takes very little time to see thoroughly and completely.

Andrea Tsang Jackson: Transparency

I watched a lecture given by this artist, who trained as a gemologist, and who has translated that into quilt blocks for all 12 of the birth stones--using just 5 fabrics to create the gem effect--reallt remarkable, but that is not all. She does large public art instillations that are quilt inspired, and the lectire I listened to was one where you use on like color tools to get a transparenct effect, which was mind blowing. When I see those quilts in the transparency category at QuiltCon I thought they did it themselves, and maybe some of them do, but you do not have to guess--you can feed in the two colors that will cross paths in your quilt and it will tell you the color that would result in sucha a mixing. More on that later when I play with it a bit. More on this artist first. This is her artist statement: Andrea Tsang Jackson is a Canadian-born textile artist of Chinese descent based in Kjipuktuk / Halifax, Nova Scotia. Her work takes the traditional craft medium of quilting and applies it to a contemporary context, often using bright hues and bold graphics. She abstracts intentionally accessible imagery, inviting points of connection from the viewer to spark discussion and inquiry. Clean and crisp, vibrant but not loud, Andrea’s work uses solid-coloured commercial fabrics, found textiles, hand-dyed and painted fabrics, and more recently Tyvek. Andrea’s work often celebrates community and collaboration, and explores ideas of home and belonging. The rich history of quilting also heavily influences her practice; she sees it as an extension of community across time. Andrea strives to push the limits of the quilting medium — and other textile media — by exploring scale and dimension and moving traditionally domestic objects into the public realm. Through her public art in recent years, Andrea’s work has explored the translation of textiles into other media – drawing, architectural mesh, and acrylic carving. This act of translation continually poses questions of what textiles mean to us as communities and how textile work exists outside the home. The boundaries around folk art, fine craft and fine art are a continual source of enquiry in her practice as she operates within all of these areas.