2020 Woven Visions at Sanchez Arts Center

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2020 Woven Viisions

The handwoven carpet of hands-spun yarns in left corner above is Planetary II  by Wendy Bertrand 


Wendy Bertrand has several weavings in this show  She will be in the East Gallery

from 1-3 on July 26     from 3-5 on August 2    as well as 3-5 on August 9.

The Sanchez Art Center has several galleries all free to the public. Lots of free parking



Architectural Museum Library of Frankfort, Germany

Architectural Museum Library adds Enamored With Place to its collection

Recently generously hand delivered to the librarian by Diane Chehab


Hedderichstraße 108-110

60596 Frankfurt am Main


Interview by Kevin Janssen about Sibila Savage Photography

 Interview of weaver Wendy Bertrand by Kevin Janssen for Loom & ShuttleSeptember 2017 Newsletter 

About Sibila Savage Photography

Are You Ready for Your Close-up?

There comes a time in an artist’s life when the need for professional photographs of their work becomes necessary because those self-snapped pictures from one’s phone or camera don’t seem to capture the colors, vitality or complexity of one’s work. Frequently, specific file formats and sizes are mandated for entry submissions to gallery shows and competitions; file requirements that outstrip the capabilities of those ubiquitous cell phones or small cameras.

Sibila Savage Studio with Wendy Bertrand Carpets

Sibila Savage Studio with Wendy Bertrand Carpets

Recently, Wendy Bertrand reached such a point in her work when she submitted an entry to (and was selected for) the International Fiber Arts VIII Exhibition at the Sebastopol Center for the Arts last month. (Please see the July 2017 Guild Newsletter for details.) Submitting an entry to the Fiber Arts VIII Exhibition was the final straw for Wendy in creating her own images and she began a search to educate herself about identifying and then working with a professional photographer to capture the essence, spirit and detail in her work in file formats she can then use going forward when presented with a venue or opportunity in which she’d like to enter her work. Generously, she is willing to share her experience with the Guild for those in a similar situation.

Once the decision was made that she needed professional photos, Wendy searched the Internet for information on professional photographers with experience in working with art made with fiber as well as seeking the advice and comments of others fiber artists. She came across several recommendations for Sibila Savage Photography. She contacted Sibila and had such an enjoyable conversation via phone that she decided to move forward and book an appointment to have several of her rugs photographed. Of great importance for Wendy was that she felt comfortable and confident with the person behind the camera.

She arrived at Sibila’s Emeryville studio and felt confident from the onset.  She felt Sibila was genuinely interested in the pieces she brought into the session and worked with Wendy during the photoshoot to ensure she captured images that Wendy was satisfied with and would feel comfortable using. During the photoshoot, and after studying a specific piece, Sibila made suggestions for areas to capture in detailed shots that Wendy hadn’t thought of as Sibila approached her work with the sensibilities of an artist and not merely taking pictures with no thought or appreciation of the subject at hand. Sibila took a picture and invited Wendy to review the image on a monitor with her and welcomed comments and reactions to what they were viewing together that lead to adjustments in approach or  changes in direction and/or lighting that resulted in photos that Wendy felt captured her work perfectly. Upon completion of the shoot, Sibila prefers to retain the art pieces for a few days for final tweaking of the images to insure colors are true and the images speak for the piece(s) directly.

Of importance for Wendy was to obtain photos in various formats that she would be able to use as needed. These formats embraced a print-ready format, digital formats and formats specific for entry submissions typical of most art calls. Wendy appreciated that she received all of the final formats electronically for each piece that was photographed. For each piece she brought to the session, she received a full-view and detail photo.

Wendy was so pleased with the experience of working with Sibila and the files she received that she is planning on scheduling another session to photograph additional work not included in her initial session. Not only does Wendy have images at the ready for when she writes an article for various publications, she is now poised with images in various formats to use when submitting her work for inclusion in gallery shows and competitions that show her work to great advantage. She was quick to mention that when sending in an application for any venue, there is a single opportunity to make an impression. Making the most of that opportunity means one needs to have great photos that represent your work as you wish others to see it.

An unplanned benefit from creating these professional photos is that Wendy now has images that document her work for her personal archives. She feels the investment in these images is well worth the price in that she can easily and confidently meet submission requirements and not have to scramble to satisfy entry file format requirements.



International Fiber Arts VIII at the Center for the Arts in Sebastopol in collaboration with the Surface Design Association

Many exception works of fiber art. A MUST SEE SHOW

July 28, 2017 until September 3, 2017

Wendy Bertrand among artists in International Fiber Arts 8 Promo


Artist Wendy Bertrand with Loom and Shuttle guild members at the International Fiber Arts Exhibit Sebastopol

Opening was a fabulous experience. Here I am with Loom and Shuttle Guild members Marlene Golden and Barbara Nitsburg.

62 inches H X 42 inches W

62 inches H X 42 inches W

Opening Announcement


FIBER ARTS VIII invitation


Enamored with Place leads to Cameroon architecture

De La Case A La Villa  

From Hut To Modern House-Cover
The book, De La Case A La Villa

This book attempts to answer the African architect’s constant professional dilemma—respecting the concept of “modern African” architecture, whereas Africans do not wish to live in traditional-style huts any longer.
Epée Ellong, with Diane Chehab, follow traditional African architecture through various historical phases to today’s African architecture, so as to highlight contradictions through a societal and technical lens.
The illustrations and images that accompany the text show the construction phases of traditional and contemporary architecture, as well as everyday objects. Many historical and linguistic references are used in order to better explain the changes on both a human and architectural level.
Subjects covered in the book include:

  • Historical migrations in Africa
  • Traditional architecture in Cameroon
  • Colonial architecture
  • The consequences of social changes on architecture and construction
  • The evolution of housing in Cameroon
  • Thoughts on the future of African architecture

Why was this book written? There are few books that explain the relationship between history, colonization, sociology and architecture in Africa.

The authors:
Epée Ellong is a native of Douala, Cameroon. He is an architect trained at the Ecole des Beaux Arts in Paris, France. In 1983, he founded an architectural firm, CAEE, with his spouse, Diane Chehab, an American-born architect. The philosophy behind CAEE was to reincarnate African traditional architecture into modern design. A home whose basic materials are bamboo and palm fronds, and no electricity or running water, can’t be automatically transformed into a contemporary dwelling. Epée drew upon traditional symbolism and masks to “Africanize” CAEE’s architecture. The firm designed projects in Cameroon, Guinea, and Ivory Coast.
CAEE’s projects brought Epee to many parts of Cameroon, where he was familiarized with the country’s ethnic, cultural and geographic diversity. He met many regional traditional chiefs who provided him with the background of the architectural and social upheavals brought on by the arrival of Europeans. Together with these chiefs, he put together a nomenclature of the typological elements of traditional construction.
Epée has been practicing architecture in the United States since 1995. He has also taught Afro-centric architecture within specialized workshops, and speaks at American universities and at the Museum for African Art in New York.
Diane Chehab was born in the United States, lived in several countries and continentbads, and studied architecture at the Lebanese University in Beirut and at the Beaux Arts in Paris, France. She married her colleague, Epée Ellong, and moved to Cameroon to manage their architectural firm. She learned Duala, her spouse’s language, to better understand the culture. She currently shares her time between the United States and Cameroon.

The book is published by Riveneuve Editions, Paris. It can be purchased on in the United States.

The English edition is not out yet, but the French edition is bursting with photos and sketches and one learns, again, the importance of culture in architecture.