Wondrous Wee World
Before starting a new project, Mavor reads dozens of nursery rhymes. “If I get a strong image from the rhyme, I know I can do it,” she says. That imaginative thinking comes out strong and clear in her studio, an aerie on the second floor of her home, where plentiful windows give views of massive treetops.
The spacious workroom is so filled with charm and wonder, it could be around the corner from Santa’s Workshop. Shelves and glass cases are lined with Mavor’s special possessions, both the extraordinary and the simply sentimental. Her grandmother’s antique dolls share space with a bent tree trunk turned into a coat rack. Walls displaying old family photos and paintings by her mother, the late artist Mary Mavor, sweep around a glass dome that houses her grandfather’s stuffed bird collection.
Tables are piled with little mountains of objects she finds on beaches and in the woods: stones, shells, beach glass, and far too many other things to count. Then there are the oddities, such as a little metal object that could become anything in the artist’s hands. “I don’t know where I got it,” Mavor says. “It’s just a beautiful object.” It is next to an old brass guitar capo, which Mavor already has ideas for. “I can just see it as part of a house or doorway,” she says. The studio’s wall color is a dreamy pink-orange, offset with green window frames. “The colors of these walls are very important to me,” Mavor says. “I wanted to feel like I was inside a cantaloupe.”
Mavor grew up in Woods Hole, with a scientist father and a stay-at-home mother who had a deep appreciation of art—and also was a prolific artist. “Creativity was the glue that held us together,” she says of her parents, brother, and sister. She still has the first book she made, when she was eight, called My Picture Book. Held together with yarn, the book is creative and funny, even wry. She remembers thinking about the project: “I wanted something real, not something that just looks real.” She still feels basically the same way. “I’m just in my world making stuff,” Mavor says. “Books are a way to express it.”
Just as she was close with her childhood family, she is nurtured by life with her husband, retired marine engineer Rob Goldsborough, and their two grown sons, Peter and Ian. After 35 years with her art, Mavor’s creative well continues to flow. Pocketful of Posies has found its audience, and one of her previous books, Felt Wee Folk: Enchanting Projects (C&T Publishing) has sold 50,000 copies so far.
The commendations she won for Pocketful of Posies were very rewarding, Mavor says, but the accolades only go so far. “I’d continue doing this no matter what,” she says. She recalls her comments when she accepted the 2011 Golden Kite Award, which captures it all: “I used to feel like I was rowing upstream in a sea of watercolors, working so hard for recognition. Now I’m floating downstream with the current, seeing the possibilities.”
For more on Salley Mavor’s work, visit www.weefolkstudio.com or her blog, weefolk.wordpress.com, which includes the documentary “Rabbitat.” Pocketful of Posies: A Treasury of Nursery Rhymes and Felt Wee Folk: Enchanting Projects are available at bookstores countrywide. “Pocketful of Posies Traveling Show,” an exhibit of the book’s 51 original illustrations, is touring the country and will be at Highfield Hall September-October 2013. She also will show her work at the Cape Cod Museum of Art in Dennis November 9, 2013-January 26, 2014.
Mary Grauerholz is communications manager for the Cape Cod Foundation and a freelance writer.
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