Archive for the 'contemporary art' Category

Messing about with books (by Margaret Cooter)

Artists who alter books by using their contents, rather than making books from scratch and filling them with their fresh ideas, have a material starting point: a physical book, or its text and/or images. This post deals with three artists (one Canadian, one American, one British) whose theme is to explore the ambiguities of communication, and who use textile techniques to alter texts.

 

 

Sylvia Ptak makes faux-texts.

An experienced weaver, she removes threads from fabric and adds simulated script. Plucked, ink-stained, and distorted “weave structures” become word shapes.

ptak1

For this image, from a 2008 exhibition called The Unicorn and The Date Palm, based on renaissance herbals, she used heat-transfer to add the illustration after the thread “writing” is in place. At other times, she has used inks, or coloured threads.

(photo from here)

(photo from here)

 

ptak3In “Commentary”, a 2004 exhibition at the University of Toronto’s Thomas Fisher Rare Book Library,  she slipped between the pages of a number of the library’s rare books her own “pages” of abstracted, text-like shapes carefully woven into sheets of gauze. You can see from the image above (via) how they mimic the ancient pages of the real tomes.

Close-up of gauze with its “text” (via)

Close-up of gauze with its “text” (via)

Sylvia Ptak says she is interested in “the multiple meanings that texts generate” – the incomprehensible language of her texts reads like everything and like nothing. “We have such faith in the printed – or handwritten – word that we feel it must be saying something,” said the reviewer of her show in the Globe and Mail. The “handwritten words” are something other than text – they are drawing, literally, in that a thread is drawn out of the fabric.

Victor Hugo, 2013, gauze, pigment, 10 1/2 x 7 1/2 in. (via)

Victor Hugo, 2013, gauze, pigment, 10 1/2 x 7 1/2 in. (via)

Her new body of work (2013) is inspired by manuscript pages, handwritten and extensively edited, by authors including James Joyce, Marcel Proust, and Virginia Woolf – pages that bear witness to their creative process, showing additions, deletions, and corrections. As well as gauze, Sylvia Ptak has been using a variety of paper, such as vellum and player piano rolls, to translate manuscripts into gestural marks, which although not legible, still retain the essence of each author.

 

Jen Bervin has removed words, rendering the remaining text in stitch.

bervin1Her “Dickinson Fascicles” are based on the punctuation (the “non-meaningful” marks) on the pages of Emily Dickinson’s manuscripts. She says on her website:
“I wanted to see what patterns formed when all of the marks in a single fascicle, Dickinson’s grouping of poems, remained in position, isolated from the text, and were layered in one composite field of marks. The works I created were made proportionate to the scale of the original manuscripts but quite large—about 8 feet (240 cm) wide by 6 feet (180 cm) high—to convey the exact gesture of the individual marks.”

Jen Bervin in front of a Dickinson Fascicle; sewn cotton batting backed with muslin (via)

Jen Bervin in front of a Dickinson Fascicle; sewn cotton batting backed with muslin (via)

These marks were omitted from typeset poems and only became available to scholars when a facsimile edition of the poems was published. Since then there’s been a lot of literary theorising about them.

Jen Bervin, detail of The Composite Marks of Fascicle 19. Cotton and silk thread on cotton batting backed with muslin

Detail of The Composite Marks of Fascicle 19. Cotton and silk thread on cotton batting backed with muslin

Jen Bervin also says: “I have come to feel that specificity of the + and – marks in relation to Dickinson’s work are aligned with a larger gesture that her poems make as they exit and exceed the known world. They go vast with her poems. They risk, double, displace, fragment, unfix, and gesture to the furthest beyond—to loss, to the infinite, to “exstasy,” to extremity.”

She spoke about her poetry and how her work is made in 2010 at  writing.upenn.edu/pennsound/x/Threads.php; you can listen online.  “The Desert” was created as an editioned work, for which she hired sewers via Craigslist; they worked shifts in her apartment on as many sewing machines as she had available.

“The Desert” uses stitch to erase passages of text, making a new meaning with what remains.

The Desert, Granary Books, 2008 (via)

The Desert, Granary Books, 2008 (via)

Jen used a text erasure technique in “nets” to make new poems out of Shakespeare’s sonnets – see an excerpt here.

 

 

Sylvie Killgallon is “translating” Homer’s Iliad into coloured stitches.

kilgallon1

Book 1 took 73 days to stitch (via)

Each greek letter will be a stitch (a cross-stitch), with colours changing throughout the books, starting with red and moving letter by letter so that the final book is blue.
Book 1 – of the 24 books – is finished; she’s now working on Book 2, and it’s the longest book. “I need to stitch faster” she says on the project blog, Stitched Iliad.

In progress - any embroiderer would love to see the back (via)

In progress – any embroiderer would love to see the back (via)

From the Guardian newspaper’s article:

“I started the project in response to a curator showing me a newly built, empty gallery space and asking me what I would put in it,” she said.

“My mind immediately sprang to the Iliad.I’d been researching translation, transmission and reception of text issues, so my immediate question to myself was ‘Can I produce a translation of the text that allows an audience of non-classicists to appreciate it without understanding the text itself?’ The colour translation was my solution.”

The initial red colour scheme was inspired by the war, anger and bloodshed featured in the Iliad, which is believed to have been written between 750 and 650 BC.

Research has shown that cultures generally follow a similar order in developing names for colours. Black, white and red appear first, while blue is one of the last colours to be named.

Kilgallon said this was the reason the project starts in the primal colour of red before transitioning to blue, a colour indicative of a more technologically developed society.”

 

 

Silvie works on her Iliad in public places, “prompting conversations and interactions with an audience receptive to both the story of the Iliad and the story of the stitched Iliad.”

Previously, for a project starting in 2011, she stitched Book I in various ways, aiming to do it “twenty-four times, each time highlighting a different method of analysing the text. My first translation is a simple letter-for-colour substitution, which each letter of the alphabet being substituted for a different colour. When the Iliad was first written down all those years ago, it would not have had the breathings, accents, spaces, or lower case letters which modern classicists would now be familiar with; thus, my translation contains no spaces, punctuation marks, accents, or breathings. Later translations will focus on syntax, metaphor, location, character, etc. Hopefully when it is finally complete, it will be a work of spectacle, aesthetic beauty and complexity worthy of the title of epic.”

For instance, here is that work in progress in March 2012 –

kilgallon3The colours are to do with names of characters and their interrelation through family trees.

Later in the process, doubts set in … “The aim of the first translation and the aim of all the rest is also different: the first translation dealt with metaphor, and how it reveals but also obscures, it dealt with appreciation and understanding. At the moment, I feel like all the rest are just… infograms. They’re just colour-coded charts showing the frequency of names and places. They’re analysing the text in a way which is supposed to be understandable, which seems almost completely at odds with my intentions in the first piece. … Why do the same thing 24 times, unless you feel the idea is developing further each time (and I don’t think it will)?”

And so the project changed. It will look amazing when it’s finished – perhaps this sample of two of the Book I’s will help you imagine it –

kilgallon4

 

 

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Carrying the story of his ancestors to the canvas, by Kristin McNamara Freeman

In 1991 I went to a gallery show in Red Lodge, Montana, and there I “met” an artist whose work called out to me from the walls of the Merida Gallery. Each piece held me  with the strong images presented and the language of Native people illustrated in the techniques of a fine contemporary artist. Kevin Red Star called out to me through the images presented at that show. Each year through 1996 I returned to see his work at this gallery and in 1997 I visited the Red Star Gallery in Roberts, Montana, for a benefit show and sale for the Boys and Girls Clubs. In 1994 and 95 I was able to see his work at the Museum of the Rockies in Bozeman, a marvelous venue for the exhibition of his paintings. My budget allowed only for me to own some signed posters of his work.

A step back in time to Kevin’s birth in 1943 and his early life in Lodge Grass on the Crow Reservation is where we can learn how Kevin’s creative adeptness was nurtured by his family and teachers. His mother designed and created in applique pieces of regalia for tribal dancers and blankets for people in the tribe. His father, a musician,  would bring Kevin prints of the work of Charlie Russell and he would make copies of those watercolors and learned about creating images of the spaces where a person dwells, for that is what C.M. Russell sketched and painted. There is a wonderful series of videos called from the spirit with Kevin telling his story at www.kevinredstar.com/vodeos, a series well worth taking the time to view. There are some good pieces of information on succeeding in making and selling art; his daily commitment to showing up, creating and getting lost in his work is a large portion of why he has been so successful. His respect for the ownership of a symbol or design he might want to include in a work is expressed in one of his recordings, an interview from The Backroads of Montana on PBS; although he is a Crow, he would never use an image unless the family who has this image on their regalia or other family possessions gave their permission to him for the use.

Inspiration for Kevin’s work comes from looking around the land where he lives and works, taking walks for inspiration and seeing what shapes and forms in the landscape speak to him.He never grows tired of taking in the energy of the land of his people, nor looking closely at the horses, buffalo and the Crow people as he includes them in the work he creates.

In his video “painting the journey” found at the above link, Keven describes his process in creating a large piece for installation at a public building. He describes how he uses the tipi poles and the poles in the travois (used for carrying large loads behind horses) to direct the eyes of the viewer from the historical Native images to the newly constructed building in the painting. Buffalo were important images and yet they were too dominant in the design until he painted them as the clouds in white. Lesson after lesson about design decisions is given by Kevin in this recorded piece.

Kevin’s education at Institute for American Indian Art in Sante Fe, New Mexico, was a life changing opportunity for him. Here he learned not simply technique but how an artist works and presents themselves to the world. From there he went to the Art Institute in San Francisco for more study and growth as an artist. Kevin continued to be a part of the community of working artists as he shared critique session with other artists, presented work in galleries and shows and settled in Sante Fe for several years and still maintains homes in both Montana and New Mexico.

There is a fine article in the “Santa Fe New Mexican”. August 17, 2014, written by Daniel Gibson, author of the newly released book on Kevin Red Star. There is a wonderful photo with the article that captures the heart centered joy that he expresses as he talks to you. You may read the article at http://www.santafenewmexican.com/magazines/indian_market_2014/kevin-red-starr-pushing-into-unknown-territory/article_9aec8c64-23c4

The “Big Sky Journal” has another article penned by the author of the book on Kevin Red Star, Daniel Gibson. Here is a photo of the cover of the magazine

Big Sky Journal Arts 2014  Painting featured in Big Sky Journal article

Big Medicine

Keven’s work is represented at the Smithsonian, The Denver Art Museum, the Heard Museum, the Whitney Museum of Western Art, eSpace in Paris and other galleries and museums in Europe and the US.

Kevin will be speaking at the Linden Museum in Stuttgart Germany on October 6th, 2014. He will present the story of his childhood on the Crow Indian Reservation and his 50 years of making art. He will then be at the Book Faire in Frankfurt, Germany October 8-9.

In March 19-21, 2015 he will once again be at the benefit auction and sale for the Charlie Russell Museum in Great Falls, Montana. In Paris, France he will have an exhibition entitles, “Shields, Drums and Masks” at Gallery Orenda, 54 rue de Ver Neuil.

Kevin Red Star

this photo of Kevin has appeared in magazines and newspapers and truly represents the gentle, sensitive and available nature of the man I have met and spoken with on several occasions.

one example of Kevin’s use of the traditional tipi of the Crow as a design element in his paintings. You can visit his Facebook page and see many more of his paintings, and also visit his website to read more of his story and see the work he currently has for sale. kevinredstar.com

Kevin Red Star is a contemporary painter, a member of the Crow Tribe and a man with a fine, gentle and caring demeanor. His skill as an artist reaches out to people from all walks of life and in his work it is my belief that folks are able to see his story and that of the Crow Nation.

Meaningful? Morbid? … or simply a mixed bag to be sorted each on its own merit? (by Olga Norris)

Rabbits’ Village School, Circa 1888
Walter Potter: Rabbits’ Village School
It was popular during the 19th century, and gradually becoming a minority curiosity during the 20th, but then suddenly there has been a revival of the art of taxidermy – or a growth in the use of taxidermy in art. In the 19th century the amateur Walter Potter made sentimental tableaux which can excite responses through the vowels from ah to ugh. (Image above, more images and an article here)
Damien Hirst
Damien Hirst: Away from the flock (from here)
Somehow not really seen as taxidermy (I don’t know the technical details of taxidermy as opposed to – or in addition to preservation in formaldehyde) the conceptual art of Damien Hirst burst onto the scene with a shark, halved cows, sheep, …. And now he is certainly not alone. A few years ago I saw and was intrigued by the work of Claire Morgan, which was when I started thinking about the use of taxidermy in sculpture.
claire-morgan-fantastic-mr-fox
claire-morgan-fantastic-mr-fox1
Claire Morgan: Fantastic Mr Fox (from here)
This was followed by watching a BBC programme about Polly Morgan in the series What do artists do all day? You can watch here and here. There seem to be so many artists now working with taxidermy as part of their sculpture – there are links here and here to some of them.
I find that my initial negative reaction to most of this art gets in the way of my thinking about it. It has nothing to do with guts and feathers and fur, but somehow it feels disrespectful to the beasts if the quality of the work draws attention to the taxidermy rather than to the idea being explored in the piece. I thought of Hirst’s work as art first and considered the technique of presentation seriously only when I read that the shark had to be replaced because it was rotting. It’s the worth of the artistic expression which engages me rather than the particularities of technique in this case. I found that Claire Morgan’s work also engaged me, but perhaps that is because I saw and walked round it, observing, thinking, feeling – whereas the other work is simply represented in photographs and therefore not sufficient to make a considered enough judgement.
Bulldog
Shauna Richardson: Bulldog (from here)
And then I found out about the ‘crochetdermy’ of Shauna Richardson. She, with one tool, overwhelmingly one material, and lots of time achieves remarkable results. Here and here are more links about the crochet work. It certainly is extraordinary craft, as was shown in the Victoria and Albert Museum’s exhibition The Power of Making, but is it art? I certainly do not think it’s any less worthy of consideration simply because she does not use the body of the original beast. Like all work, I reckon that each individual piece should be weighed on its own merits, and not lumped in with however the technique of its making is considered at any point in time.
I’m curious to know what you think.

Some Time Later (by Clairan Ferrono)

photo 4

E Hesse

http://collection.mam.org/search.php?search=Hesse%2C%20Eva

 

Some time ago I posted about an art filled trip I’d taken to Wisconsin.  This post was meant to follow shortly thereafter, but life intervened.  Finally, we move on to the Milwaukee museum of art. I had limited time, so I quickly determined to see only the modern art (which is what I am most interested in).  One room was closed, which was a disappointment, but that allowed me to spend more time with each piece that intrigued me.

L Carroll

L Carroll Grey Sleeping Painting 2010-12

Carroll detail Carroll detail 2

details

I was taken by this rough mixed media piece by Lawrence Carroll, an artist I’d never seen before:  https://www.en.wikipedia.org/wiki/Lawrence_Carroll  Of course, the stitching drew me in! This piece is made of wax and canvas on wood.

O'Keefe

G. O’Keeffe

There was a room of O’Keeffes, but I found none very interesting except for this small still life.  The vegetables seem to me to have her particular sensuality, and I like how they are clearly situated in the white bowl? on the white cloth? which is narrowly delineated at the top of the painting.

De Witt detailDeWitt detail

S. LeWitt Wall Drawing #88

This piece by Sol LeWitt was drawn on an entire wall of the museum in pencil.

Sol de Witt

The work was conceived by de Witt specifically for the Milwaukee Museum of Art, but not executed by him.  He gave instructions (above) that  6″ grids should be drawn to cover the wall and that freehand lines (looking very much like quilting!) should be drawn inside each square.  He further instructed that the inside of the wall have blue and yellow lines, but this was not done.  He clearly believed that “the hand of the artist” was not essential, only the idea.  However, I wonder what the work would have looked like if he himself had drawn all the lines.

Joan Mitchell

J. Mitchell Untitled 1969

I spent most of my time with the abstract expressionists (no surprise here!).  I like the movement around the dark clotted enter of this piece by Joan Mitchell. I also like the texture of the thick paint.

Mitchell detail

detail

Rothko

Rothko Green Red Blue 1955

This is not one of the best Rothkos, but his work is always worth looking at to my mind.

Hoffman

H Hoffman Dew and Dusk 1957

Hans Hoffman was the teacher of the early abstract expressionists and a master of color.  His work is so exuberant I couldn’t help smiling the entire time I was looking at it. The multiple colors are so saturated  that there is no hint of the “rainbow” effect.

Hoffman detail

detail

 

Diebenkorn

Diebenkorn 2

R Diebenkorn OCEAN PARK #88 1974

The Diebenkorn was too large for me to get a full shot of, and again, it’s not his best work, but still quite lovely melting soft soothing sea colors kept from being too sweet by some dark and sharp lines of color containing them. I love the blurred edges as well.

As it turned out, I had 15 minutes extra which I spent just sitting in a big comfy chair, looking out a window at a gorgeous view of Lake Michigan.  In addition, it is worth a trip to this museum for the building itself designed by Saarinen. It has wings which are opened and closed at specific times of day.  www.youtube.com/watch?v=IFQQJIUTv9M

https://mam.org/info/details/quadracci.phpwww.mam.org

You can get an app for your phone showing different views of the wings opening and closing.

Speaking out of turn (by Olga Norris)

I, like Nature, abhor a vacuum, so, even tho’ ’tis not my turn, I am adding a small post here while we catch up with the schedule.
art-image-2-582849578
(Image from here)
It all started with a need to listen to something interesting while I was stitching. I turned to a radio programme broadcast last year – about artists’ studios. Great, because I have an insatiable curiosity about where and how artists work. Even better that the presenter/interviewer was an artist herself: a printmaker of whom I had not heard – Susan Aldworth. And there started a marvellous journey of discovery.
An artist fascinated by the idea of self, Aldworth has examined and used scientific and medical imaging and interventions to do with the brain, including her own brain scans. I was particularly mesmerised by the next programme I listened to: an interview with a friend who has epilepsy, and whose portrait she was making. I was intrigued and moved by the sounds of the epileptic brain!
I followed this immediately with a programme about the printmaker Stanley Jones of Curwen Press. The three programmes together gave me a great deal to think about, and it was not until the following week that I returned to see the film about Susan Aldworth’s latest project called Transience. It involves making prints using slices of brain donated by sufferers of Parkinson’s disease – donated with use in making art included in the purposes agreed by the donors. I found the film compelling viewing, and am still thinking about it all.

I would love to know what anyone thinks of the work and the thinking behind it as discussed in this film.

When artists become collectors (by Margaret Cooter)

“Like the making of art itself, collecting reminds me of prospecting. Some perceived sparkle makes you start to dig and then a seam can be followed.”

Julian Opie is a British artist I’ve never looked at twice. His flat, graphic style always got the “so what?’ reaction. But reading about his art collection has changed that.

Opie has put together an exhibition* of his collection and his own work – and what strange bedfellows they are – portraits from the 17th and 18th centuries don’t, on the surface, connect with his “sculptures”.

Julian with T-Shirt (2005).  LCD screen with integrated software.  "LCD screens are now so flat and high-resolution that they are quite similar to pantings or prints. Like the portrait in the haunted house that moves its eyes, there is a humour to movement when it's unexpected."

Julian with T-Shirt (2005).
LCD screen with integrated software.
“LCD screens are now so flat and high-resolution that they are quite similar to pantings or prints. Like the portrait in the haunted house that moves its eyes, there is a humour to movement when it’s unexpected.”

In an article** about his show (and collecting habit) he says: “A chance encounter with (and purchase of) a ‘School of Godfrey kneeler’ portrait opened up the whole of 17th- and 18th-century portraiture or me. The painting caught my eye due to its powerful purposefulness and sense of being an object…When I started to investigate where it had come from, however, I began discovering a world of art parallel to, but quite separate from, the contemporary art world. … The list of artists kept growing as I found one who taught another or competed with another. … I began to understand the period in a way I had never done before … numerous brilliant, exciting artists I had never heard of, describing a whole world, evoking a whole scene. “

Cornelis Johnson (1593-1661), Portrait of an Unknown Gentleman (1631). "Johnson is particularly known for placing the head close to the centre of the canvas, lower than most artists would. This has a very odd and endearing effect."

Cornelis Johnson (1593-1661), Portrait of an Unknown Gentleman (1631).
“Johnson is particularly known for placing the head close to the centre of the canvas, lower than most artists would. This has a very odd and endearing effect.”

“It is tempting to see the present as special, but it is also exciting to realise that he past was once today. To me, the art of different periods brings those worlds parallel,” says Opie.

Subsequently he became interested in “ancient art”, buying a small marble Aphrodite and going on to learn more about the whole ancient period, from Roman statuary and portraiture to Tanagra Greek figurines and to all things Egyptian.

A pattern is evolving – stumble on the art, like it, (buy it,) get curious, investigate…  “After the heated frenzy of having found and caught the work there follows a sense of calm. I look forward to having it on view.”

Jean-Marc Nattier (1685-1766), Portrait of a Lady "The dashing clothes and posture do more than the rather blank features to evoke the sitter's character and presence. To me, Nattier's pictures are perfect and an epitome of a certain, doomed moment."

Jean-Marc Nattier (1685-1766), Portrait of a Lady
“The dashing clothes and posture do more than the rather blank features to evoke the sitter’s character and presence. To me, Nattier’s pictures are perfect and an epitome of a certain, doomed moment.”

How does his collection inform his own art?

“Looking at other artists’ work gives me clues in terms of materials, composition, subject matter, colour – everything really. But it also reflects what my interests are, making me feel connected, giving me confidence. [Compared with ancient artists] artists now don’t really know what they are doing and have to invent or find this sense of obviousness and purpose for themselves.”

It works the other way round, too, Opie says. “Making art is in part a conversation with people about whom you can make certain assumptions of sameness. I assume my viewers are living in the same world as I am, that their picture of themselves and their surroundings is built of much the same material as mine. What art looks like, what images we have already seen, has great bearing on how we see new art. What we see is structured and defined by what we know, and a lot of that h=is to do with art from the past … I have always aimed to make my work with all that in mind, as part of its meaning and promise. If I make something that looks a bit like and 18th-century painting or reminds one of an information screen in an airport, it is because I mean it to.”

At Home with Maria 4 (2011) "The focus in a painting is naturally the face and the eyes. By eliminating these, the viewer is free to take in the pose and costume, to read the space that is suggested, t see the whole as a sign, an invention and yet to feel, I hope, the reality of the image."

At Home with Maria 4 (2011). “The focus in a painting is naturally the face and the eyes. By eliminating these, the viewer is free to take in the pose and costume, to read the space that is suggested, t see the whole as a sign, an invention and yet to feel, I hope, the reality of the image.”

“…because I mean it to”…  Through being informed about the history and context of art at different times, as Opie has done via his own art collection, the “meaning to” becomes something wider, deeper than the technical aspects of producing the work.

Telling the readers of this blog about the joys of learning about areas of art outside their own field of practice is unnecessary – you’ve read this far, after all! – but I can’t help thinking that this sort of interest or knowledge seems to be rather lacking in other parts of the textile-art field. Prove me wrong?

And, tell me … what’s on your walls? How does it  influence the art you make?

Aniela Bathing 4 (2013) Black enamel on white marble, 95x95cm. “A song is about neither words nor music but a perfect relationship between the two, the meaning lying somewhere in between and beyond. Subject matter and materials in a painting have a similar relationship.”

 

 

*’Julian Opie Collected Works’, The Holburne Museum, Bath, 22 May to 14 September; Bowes Museum, Durham, 4 October to January 2015.

**Published in Art Quarterly, Spring 2014; a draft is at julianopie.com. Images and captions in this post are drawn from those in the published article.

 

Is It the 1960s? (by Karen S. Musgrave)

Invader_KarenMusgrave I had not intended to add to Olga’s discussion on crochet but serendipity played its part so here I am. When Stephanie Lanter’s piece “Invader” arrived at ClaySpace for its national competition and exhibit, Clay3 (work must fit in a 12″ x12″ x12″ cube), it was in eight pieces. When no one else would step up to fix it, I did. This lead me to look further into Stephanie’s work where I would discover porcelain and fiber sculptures that dealt with communication.

My porcelain and fiber sculptures are symbols representations of relations (i.e. communications) with others and ourselves. These intimate ‘phones’ are softened and contextualized with threads and crocheted doilies. Inspired by by the sensuality of antique phones, my use of low-tech process is not a critique of technology but of behavior. I examine dysfunction, loneliness, ‘home,’ and ambivalence through abstraction and excess, and laugh at my obsessions in this realm of connection. Also, I wonder how changing modes of fulfilling this basic need to “reach out and touch” each other–is also changing us.”

ToDelete, PressStar_StephanieLanter

To Delete, Press Star

Jeannie

Jeannie

When I was sharing my discoveries with a friend, she thought I should check out the work of Norma Minkowitz. Norma explores the possibilities of crocheted, interlaced sculptures stiffened into hard mesh-like forms. Her work deals with the passage of time, fragility of life, and  the inevitability of mortality. “Despite the repeated use of the same basic stitch, no two are exactly alike. This conveys the intimacy and imperfection of the human hand while creating a movement akin to the cross hatching of a pen and ink drawing. The interlacing technique that I use makes it possible for me to convey the fragile, the hidden, and the mysterious qualities of my work, in psychological statements that invite the viewer to interpret and contemplate my art. I am still drawing, but with fiber. “

Talking with Olga, she made a comment that it was beginning to feel like the sixties again. “It will be macrame next.” Of course , I had to explore what was happening in macrame and found some incredible artists using this medium. We are most certainly not talking hippie macrame.   Jim (no last name given) creates skulls out of macrame. His website is here. Then there is Ukrainian artist Vladimir Denshchikov who creates religious icons using macrame and painted canvas (only the faces are painted).

I suspect that just like quilts, crochet and macrame have evolved. And I always find it interesting what medium people choose to express themselves. So if this is a reflection of growth from the 1960s, I say, “Rock on!”

jim Macramemacrame-art-19-s


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