Here is the piece that I wrote for the Interfictions Indiegogo fundraiser, before it disappears from here: https://www.indiegogo.com/projects/interfictions-online-indiegogo#activity
Introduction by Carlos Hernandez.
Building on Art Editor Henry Lien's introduction to the "visual interstitial," we're proud to feature the art of dollmaker Chandra Peltier. Chandra is a member of the Southern Highland Craft Guild, the EHAG Emporium and is part of the working group of the Interstitial Arts Foundation. Her writing and work have appeared in Endicott's Journal of Mythic Arts, Faerie Magazine, FAE, Contemporary Doll Collector, DOLLS, Belle Armoire, and Art Doll Quarterly magazines; in the books500 Handmade Dolls and Aphrodisia II: Art of the Female Form; and she was featured on the HGTV program “That's Clever.”
What is doll art? Is it a plaything, a piece of religious iconography, a work of figurative art, a form of illustration? These are some of the questions I was asked, and asked myself, when I began to professionally create art dolls in 1999. It was several years later when I finally learned the answer: doll art can embrace and resist all of these categories.
I first encountered doll art through the work of Southern Highland Craft Guild member Akira Blount when I was fifteen years old. My mother, a weaver and fiber artist, brought me along to her shows. Seeing Akira's art was a revelation. I had always drawn and loved stories, but here were characters come to life. As much as I had adored illustrations, Akira's dolls existed in this world, in the third dimension! I was enchanted.
t Middle Tennessee State University, I found myself researching the recent art doll movement. Seeing the work of doll artists such as Kat Soto, E.J. Taylor, Wendy Froud, Nancy Wiley, Connie Smith, Pat and Tom Kochie fired my imagination further. Doll art encompassed so many challenging skills: sculpting, painting, wigging, designing props, dress- and shoe-making. I learned new techniques, like dipping figures in beeswax and fiber arts applications such as beadwork, needle felting and free-motion embroidery (literally drawing with thread).
Discovering the Interstitial Arts Foundation online, the final piece of the puzzle fell into place. At shows the public would ask me about my art, insisting on a definition. Here was the answer: interstitiality. Floating between the interstices, my work can flirt with terms such as “fantasy,” “plaything,” “fine craft,” “figurative illustration,” and “fine art.” My doll art can suggest or skirt all of these definitions and push past the boundaries of known genres, exploring new ground. To term oneself as an interstitial artist is to soar free.