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

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.”

To Delete, Press Star

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!”

macrame-art-19-s

Clay and Fiber: More in Common Than You Think (by Karen Musgrave)

Published December 15, 2013 Art Ideas 2 Comments
Tags: art, ceramics, clay, Japan

In September 2012, I decided to move outside of my comfort zone and take a pottery/ceramics class. In addition to learning the art, I began studying the history and the work of ceramic artists. I discovered that the historical flow of knowledge and influence began in China then moved to Korea and finally to Japan. I choose to spend some time studying Japanese ceramics because I could more easily find translations and information. As I studied, I was struck by the many similarities between ceramics and quilts. There is the art vs. craft debate. Despite names like “bowl,” “jar,” or “vessel,” that imply some sort of practical function, pieces are created with the idea that personal fulfillment and self-expression are often more important than practical utility and commercial success. There is also the tension between the traditionalists and those who breaking away from tradition. And finally, there is the educated vs the self taught debate. It is my hope that this provides food for thought.

Kishi Eiko (1948-) took archeology and anthropology courses in college, studied dyeing and painting and art history before taking up clay. She has no formal ties to a ceramic tradition. This independence has enabled her to develop a unique style. She uses a technique of her own invention, which she calls “color inlay” and usually works on two pieces at a time for months at a time. This piece took three months to make. “It is only in making my work that I understand where the piece is going.”

Katsumata Chieko’s (1950-) work reflects a distinctive ceramic education. All her formal training took place in France, where she traveled with a plan to study industrial design. A meeting with Texas-born potter Fance Franck inspired her to pursue a ceramic career. Her love of ancient artifacts bearing the marks of time owes something to the sixteen-century Japanese tea-ceremony masters and the aesthetic of wabi sabi. Yet Katsumata uses colors that are far removed from those traditional Japanese ceramics. “I am attracted to things…that convey the passing of time.”

Yabe Makoto (1947-2005) lived and worked full-time outside of Japan. He began studying ceramics at 18 and completed his training at twenty-four, following a four-year apprenticeship with Shikokai, a small avant-garde group. He moved to Massachusetts in 1977 and remained in the U.S. until his death. Yabe experimented with the demanding nerikomi marbling technique that originated in Tang-dynasty China ((618-907). His work reflects the struggle between functionality and expression. “Mostly, it doesn’t come out as I expected!”

A great book to lean more about contemporary Japanese ceramics is Contemporary Clay: Japanese Ceramics for the New Century by Joe Earle (2005, MFA Publications). I look forward to your thoughts.