{"id":9330,"date":"2024-01-12T11:55:15","date_gmt":"2024-01-12T16:55:15","guid":{"rendered":"https:\/\/enchantedlivingmagazine.com\/?p=9330"},"modified":"2024-01-12T11:55:15","modified_gmt":"2024-01-12T16:55:15","slug":"catching-the-moon-an-interview-with-pamela-zimmerman","status":"publish","type":"post","link":"https:\/\/enchantedlivingmagazine.com\/catching-the-moon-an-interview-with-pamela-zimmerman\/","title":{"rendered":"Catching The Moon:  An interview with Pamela Zimmerman"},"content":{"rendered":"<div class=\"wpb-content-wrapper\"><div id=\"tdi_1\" class=\"tdc-row\"><div class=\"vc_row tdi_2  wpb_row td-pb-row\" >\n<style scoped>\n\/* custom css - generated by TagDiv Composer *\/\n\n\/* custom css - generated by TagDiv Composer *\/\n.tdi_2,\r\n                .tdi_2 .tdc-columns{\r\n                    min-height: 0;\r\n                }.tdi_2,\r\n\t\t\t\t.tdi_2 .tdc-columns{\r\n\t\t\t\t    display: block;\r\n\t\t\t\t}.tdi_2 .tdc-columns{\r\n\t\t\t\t    width: 100%;\r\n\t\t\t\t}.tdi_2:before,\r\n\t\t\t\t.tdi_2:after{\r\n\t\t\t\t    display: table;\r\n\t\t\t\t}\n<\/style><div class=\"vc_column tdi_4  wpb_column vc_column_container tdc-column td-pb-span12\">\n<style scoped>\n\/* custom css - generated by TagDiv Composer *\/\n\n\/* custom css - generated by TagDiv Composer *\/\n.tdi_4{\r\n                    vertical-align: baseline;\r\n                }.tdi_4 > .wpb_wrapper,\r\n\t\t\t\t.tdi_4 > .wpb_wrapper > .tdc-elements{\r\n\t\t\t\t    display: block;\r\n\t\t\t\t}.tdi_4 > .wpb_wrapper > .tdc-elements{\r\n\t\t\t\t    width: 100%;\r\n\t\t\t\t}.tdi_4 > .wpb_wrapper > .vc_row_inner{\r\n\t\t\t\t    width: auto;\r\n\t\t\t\t}.tdi_4 > .wpb_wrapper{\r\n\t\t\t\t    width: auto;\r\n\t\t\t\t    height: auto;\r\n\t\t\t\t}\n<\/style><div class=\"wpb_wrapper\" >[vc_column_text]<\/p>\n<p style=\"text-align: center;\"><em>Photography by Ronald L. Sowers<\/em><\/p>\n<p>[\/vc_column_text]<div class=\"wpb_wrapper td_block_empty_space td_block_wrap vc_empty_space tdi_6 \"  style=\"height: 32px\"><\/div>[vc_column_text]<span class=\"dropcap dropcap2\">B<\/span>askets exist to store, to carry, to hold. Sometimes they contain day-to-day, imminently practical objects; sometimes they capture what\u2019s far more elusive: thoughts, memories, joys, even a touch of melancholy. The basket may well hold the essence of its weaver or some wildness and wisdom from the spirit of the tree from which it came. Perhaps on occasion, a heartfelt incantation has been woven into a basket\u2019s undulating rows of pine and sinew. It\u2019s even possible that a slender ray of moonlight can become trapped within its tangles and never quite escape, even with the rising of the sun.[\/vc_column_text]<div class=\"wpb_wrapper td_block_separator td_block_wrap vc_separator tdi_8  td_separator_solid td_separator_center\"><span style=\"border-color:#EBEBEB;border-width:1px;width:100%;\"><\/span>\n<style scoped>\n\/* custom css - generated by TagDiv Composer *\/\n\n\/* custom css - generated by TagDiv Composer *\/\n.td_block_separator{\r\n                  width: 100%;\r\n                  align-items: center;\r\n                  margin-bottom: 38px;\r\n                  padding-bottom: 10px;\r\n                }.td_block_separator span{\r\n                  position: relative;\r\n                  display: block;\r\n                  margin: 0 auto;\r\n                  width: 100%;\r\n                  height: 1px;\r\n                  border-top: 1px solid #EBEBEB;\r\n                }.td_separator_align_left span{\r\n                  margin-left: 0;\r\n                }.td_separator_align_right span{\r\n                  margin-right: 0;\r\n                }.td_separator_dashed span{\r\n                  border-top-style: dashed;\r\n                }.td_separator_dotted span{\r\n                  border-top-style: dotted;\r\n                }.td_separator_double span{\r\n                  height: 3px;\r\n                  border-bottom: 1px solid #EBEBEB;\r\n                }.td_separator_shadow > span{\r\n                  position: relative;\r\n                  height: 20px;\r\n                  overflow: hidden;\r\n                  border: 0;\r\n                  color: #EBEBEB;\r\n                }.td_separator_shadow > span > span{\r\n                  position: absolute;\r\n                  top: -30px;\r\n                  left: 0;\r\n                  right: 0;\r\n                  margin: 0 auto;\r\n                  height: 13px;\r\n                  width: 98%;\r\n                  border-radius: 100%;\r\n                }html :where([style*='border-width']){\r\n                    border-style: none;\r\n                }\n<\/style><\/div>[vc_column_text]<\/p>\n<h1>Pamela Zimmerman\u2019s creations transcend into the mysteriously sublime. In her \u201cCatching the Moon\u201d series, Teneriffe lace is woven into webs atop soulful faces peering out from below. One might ask if it\u2019s they who caught the moon, or if the moon entranced and ultimately caught them.<\/h1>\n<p>[\/vc_column_text][vc_column_text]<strong>Kambriel: When were you first drawn to the ancient yet constantly evolving craft of basket weaving?<\/strong><br \/>\n<strong>Pamela Zimmerman:<\/strong> I\u2019ve always loved baskets and have especially been drawn to Native-style baskets, particularly coiled ones. Living and working in northern Arizona as a National Park ranger before I ever made a basket, I studied and bought Native American baskets and wished I could make something like them.<\/p>\n<p><strong>K: How has being based in North Carolina\u2014with its long, rich tradition of basket weaving and roots in Cherokee, Gullah, and European cultures\u2014inspired your work?<\/strong><br \/>\n<strong>PZ:<\/strong> I love all forms of indigenous baskets from around the world. They are constantly inspiring. I\u2019ve lived here for over thirty years, and North Carolina\u2019s influence has really been in the availability of materials: There is so much that grows well here\u2014longleaf pine needles, which I have used extensively, and also the fabulous array of weedy things people don\u2019t want that are easy to find in abundance, like vines (honeysuckle, Virginia creeper, wisteria, kudzu, English ivy), yucca, and dandelions. Free and available materials have always been essential to the basket maker, who uses what they have; this is the tradition of all Native people\u2019s basketry.<\/p>\n<p><strong>K: Did this diverse array of cultures have a special impact or provide inspiration for your own particular style or techniques? <\/strong><br \/>\n<strong>PZ:<\/strong> I\u2019ve been inspired to see how the cultures that came before made baskets with what they had access to. It is something I have pondered and preached throughout my time as a basket maker and teacher. Most tribes altered their basketry forms, sometimes quite dramatically, to appeal to Europeans when this continent was invaded by white men. Many things we consider typical of a certain tribe were adopted as \u201ctraditional\u201d forms by that tribe in recent historical memory. I can give many examples: the Coushatta pine-needle baskets, as well as the Tohono O\u2019odham coiled-yucca and devil\u2019s-claw baskets. Even the Cherokee have begun to make pine-needle baskets, though there is no record of pine-needle baskets existing in that culture until relatively recently. The whole Gullah basket tradition is driven by the historic atrocity of cultural displacement by slavery. They combined their skills from Africa with what they could find in the New World to make what they needed and generated a whole new heritage. All these cultures have influenced me in that they are taking what they have and making what they need, whether it be to have something to sell or to winnow grain.[\/vc_column_text][vc_single_image image=&#8221;9331&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221;][vc_column_text]<strong>K: At what point did you feel yourself coming <\/strong><strong>into your own, experimenting beyond traditional basketry toward the realm of personal creative expression?<\/strong><br \/>\n<strong>PZ:<\/strong> I\u2019ve experimented from the very beginning in my basketry journey. I learned my first technique, coiling, from Judy Mallow\u2019s From Forest Floor to Finished Project, but I struck out and did things my own way, the way they worked for me. Coiling lends itself very well to ad lib. It\u2019s the easiest basketry technique, in my opinion, because it has only two active elements. After coiling alone for several years, I found the North Carolina Basketmakers Association and started going to their annual convention, where I took and taught my first classes. I selected classes for the techniques they contained as opposed to the basket we were weaving, for the sole purpose of adding techniques to my repertoire.<\/p>\n<p>It took a long time to think I had come into my own. One curator said, \u201cIf you can do this\u201d\u2014a finely woven piece\u2014 \u201cwhy in the world would you want to do that?\u201d\u2014a rustic weaving. One artist told me that if I did not make one style recognizably mine, I would always appear as a student. The implication is that the process of exploration and discovery is only for those who are unlearned. That is sad as well as wrong. Look at great creators in history who did not focus: Leonardo, Picasso, Michelangelo. They were not criticized for dabbling in too many media.<\/p>\n<p>Why was it wrong for me to explore as many directions as I wished? I finally resolved this question within myself. People want relationships between things when they are presented together. I generally explore a new idea at least three times before I am ready to move on, though often the first rendering remains my favorite. So I give the appearance of focus while my creativity remains at large, actively seeking new, challenging, exciting avenues of applying my store of techniques I collect along the way. Why is this important? I have learned another secret. I always heard of people hitting creative walls, running out<br \/>\nof ideas. I could never comprehend this. It doesn\u2019t seem possible for me to not have an idea or something to work on. The secret lies in the fact that I have not focused. When you choose to work only in one direction, when the project is finished, of course there is nothing else to do. I freely explore whatever comes to my fancy. I am an artist because I must be; curiosity and creativity is a compulsion. If I cannot have fiber, it will be expressed another way: in the teaching of my children, making my unconventional dinner, or watercolor. It will emerge, nonetheless. I am here and have come into my own.[\/vc_column_text][vc_column_text]<strong>K: Basketry can strike a perfect balance between the utilitarian and artistic. Is striking such a balance a goal in your own pieces? <\/strong><br \/>\n<strong>PZ:<\/strong> Utility is important only when I am making a particular thing I need. The rest of the time it is all art. I imagine early man, painting on a cave wall. The woman was over here figuring out how to weave a sandal from a yucca plant or something. He\u2019s over there, indulging himself in something purely decorative, making handprints on the wall or documenting his fabulous hunt: the beginning of painting art. She is figuring out how to make something out of what she has found, something to make life easier: the beginning of fiber art. Eventually, she<br \/>\nwill also make it beautiful, but there is so much to figure out about making it work first. Painting has always been decorative. Fiber was about making something you needed. Both of these transcend and become art when creativity is employed and whatever is made evokes emotion. Whatever the medium, art is accomplished when the mundane is transformed into the thought provoker.<\/p>\n<p>I consider myself a fiber artist and prefer to work in a sculptural context. Once a year, my family takes a vacation on a remote rural property, where I try to weave with what I can find in the woods: twigs, barks, vines, grasses. At these times, I sometimes try to make useful baskets. It feels like I\u2019m an ancient Native woman when I sit in the creek and weave with my children playing nearby. I often feel like I am the first basket maker, trying to figure out how to make a vessel with what I have around me. It\u2019s a wonderful, primal experience and never fails to enrich my perspective as an artist.<\/p>\n<p><strong>K: You created a series entitled \u201cCatching the Moon.\u201d Does the moon hold special significance for you? <\/strong><br \/>\n<strong>PZ:<\/strong> The \u201cCatching the Moon\u201d series was an outgrowth of my face baskets, the first of which was a gift for one of my children\u2019s teachers. It was very emotional, putting that face in the basket. I\u2019m still trying to figure it out. Faces attract us. The faces draw people in who would not otherwise look at a woven piece. I have been told by some other artists that faces are wrong in baskets. As far as I\u2019m concerned, that is as good a reason as any to keep making them! But many of my weaving ideas come in the middle of the night, and that is how the \u201cCatching the Moon\u201d series started, when one of my children was not sleeping well. Lots of nights. Lots of moons. Even after he started sleeping better, there were more moons. They all had something different to say. The middle of the night is like that.<\/p>\n<p><strong>K: As this issue\u2019s theme is \u201cWinter Witch,\u201d whatdo you personally consider to be some of the most magical and meaningful aspects of the winter season?<\/strong><br \/>\n<strong>PZ:<\/strong> Winter is the time when we contemplate endings. It seems everything is ending and yet, it does not. The leaves come back. The birds return. Baby animals are born. All of that is magical. The older I get, the harder it is not to revisit the comparisons of life to the seasons of the year. I am in winter now, and it is good.[\/vc_column_text][vc_column_text]<strong>K: Do you find yourself weaving any particular thoughts, feelings, or wishes into the baskets?<\/strong><br \/>\n<strong>PZ:<\/strong> But of course! The feel of a finished work is imbued with emotion and contemplative energy. When I make a moon piece, I contemplate the feeling I want it to exude. I often see my entire life as a woven work, all the different threads connecting me to the world around me. Maybe every artist sees their work as an outgrowth of how they envision their world relationship, but this is very strong for me. I feel as if I\u2019m weaving all day long, even when there\u2019s not a fiber piece in my hands.<\/p>\n<p><strong> K: The porcelain faces you crafted to look out from beneath the intricately woven Teneriffes on these pieces often have a timeworn, chipped, and weathered appearance. I feel this gives them a greater sense of history and depth of individual personality, not to mention a wonderfully crone-like charm! Did you specifically want to avoid making them look too refined and smooth, too perfectly symmetrical, too conventionally pretty? <\/strong><br \/>\n<strong>PZ:<\/strong> Thank you! Yes, I tend not to like things that are \u201cperfect.\u201d When I first started weaving, I wanted to make a perfectly shaped basket, and I tried for a long time. It was part of my learning process. Eventually I realized that nothing is perfect and that sometimes it\u2019s better to celebrate the difference than to try to make things exactly a certain way. To me, the whole purpose of weaving is exploration. There are very few rules: Don\u2019t get hurt. Don\u2019t eat it. Try not to stain the furniture and walls. Other than that, I do what I want with the fiber, not what I\u2019ve been shown to do with it. I tell my students, \u201cThis is not skydiving\u2014it is art. The worst that can happen is the weaving will be ugly. Why not take risks, and plenty of them? The payoff far outweighs the penalties.\u201d[\/vc_column_text][vc_cta h2=&#8221;Subscribe!&#8221; txt_align=&#8221;center&#8221; style=&#8221;flat&#8221; color=&#8221;grey&#8221; add_button=&#8221;bottom&#8221; btn_title=&#8221;Subscribe Today!&#8221; btn_style=&#8221;flat&#8221; btn_color=&#8221;mulled-wine&#8221; btn_align=&#8221;center&#8221; btn_button_block=&#8221;true&#8221; btn_link=&#8221;url:https%3A%2F%2Fenchantedlivingmag.com%2Fcollections%2Fsubscribe|target:_blank|rel:nofollow&#8221;]<\/p>\n<div style=\"text-align: center;\"><span style=\"color: #000000;\"><em><i><img data-dominant-color=\"1f2225\" data-has-transparency=\"false\" style=\"--dominant-color: #1f2225;\" loading=\"lazy\" decoding=\"async\" class=\"wp-image-9122 size-medium aligncenter not-transparent\" src=\"https:\/\/enchantedlivingmagazine.com\/wp-content\/uploads\/2023\/11\/EL65_websingles-1-231x300.webp\" alt=\"Winter Witch Issue by Enchanted Living Magazine - The Year of the Witch 2023 #65\" width=\"231\" height=\"300\" srcset=\"https:\/\/enchantedlivingmagazine.com\/wp-content\/uploads\/2023\/11\/EL65_websingles-1-231x300.webp 231w, https:\/\/enchantedlivingmagazine.com\/wp-content\/uploads\/2023\/11\/EL65_websingles-1-789x1024.webp 789w, https:\/\/enchantedlivingmagazine.com\/wp-content\/uploads\/2023\/11\/EL65_websingles-1-768x997.webp 768w, https:\/\/enchantedlivingmagazine.com\/wp-content\/uploads\/2023\/11\/EL65_websingles-1-1183x1536.webp 1183w, https:\/\/enchantedlivingmagazine.com\/wp-content\/uploads\/2023\/11\/EL65_websingles-1-1577x2048.webp 1577w, https:\/\/enchantedlivingmagazine.com\/wp-content\/uploads\/2023\/11\/EL65_websingles-1-696x904.webp 696w, https:\/\/enchantedlivingmagazine.com\/wp-content\/uploads\/2023\/11\/EL65_websingles-1-1068x1387.webp 1068w, https:\/\/enchantedlivingmagazine.com\/wp-content\/uploads\/2023\/11\/EL65_websingles-1-1920x2493.webp 1920w, https:\/\/enchantedlivingmagazine.com\/wp-content\/uploads\/2023\/11\/EL65_websingles-1-323x420.webp 323w, https:\/\/enchantedlivingmagazine.com\/wp-content\/uploads\/2023\/11\/EL65_websingles-1-scaled.webp 1971w\" sizes=\"auto, (max-width: 231px) 100vw, 231px\" \/>Enchanted Living<\/i><\/em> is a quarterly print magazine that celebrates all things enchanted.\u00a0<\/span><\/div>\n<div style=\"text-align: center;\"><\/div>\n<div style=\"text-align: center;\"><em><strong><span style=\"color: #000000;\">Subscribe now and begin with our Winter Witch issue!<\/span><\/strong><\/em><\/div>\n<p>[\/vc_cta]<\/div><\/div><\/div><\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>Explore Pamela Zimmerman&#8217;s captivating basketry, where each creation tells a unique story. From coiled Native-style baskets to emotive faces in &#8220;Catching the Moon,&#8221; discover artistry beyond utility.<\/p>\n","protected":false},"author":77,"featured_media":9332,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_coblocks_attr":"","_coblocks_dimensions":"","_coblocks_responsive_height":"","_coblocks_accordion_ie_support":"","footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[83,92,272],"tags":[2647,2646,2651,2653,2649,2655,2657,2654,524,2648,2652,2656,2650],"class_list":{"0":"post-9330","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-art","8":"category-creative","9":"category-qa","10":"tag-basket-weaving","11":"tag-basketry","12":"tag-catching-the-moon-series","13":"tag-cherokee-culture","14":"tag-coiled-baskets","15":"tag-european-basketry","16":"tag-fiber-artist","17":"tag-gullah-culture","18":"tag-kambriel","19":"tag-native-style-baskets","20":"tag-north-carolina-basket-weaving","21":"tag-pamela-zimmerman","22":"tag-teneriffe-lace"},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.7 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Catching The Moon: An interview with Pamela Zimmerman &#8211; Enchanted Living Magazine<\/title>\n<meta name=\"description\" content=\"Explore Pamela Zimmerman&#039;s captivating basketry, where each creation tells a unique story. 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