Saturday, August 15, 2009
Calm I; 19.5" x 15"; thread on industrial felt; 2008
Carved and Twisted I (left); 20" x 15"; thread on unprocessed wool; 2008; Carved and Twisted II (right); 40" x 13"; thread on unprocessed wool; 2008
These images represent the journey of contrasting styles of my felt artwork. On one hand, I love the simple stitched lines and the resulting "spine" emulating a book. I also love the texture of folding, smashing, rolling then stitching of the second two pieces. On reflection, I think they both convey conceptually, one takes more time to process and the second two evoke a more immediate reaction.
Spine III; 12" x 12", thread and tea bag holders on unprocessed wool; 2007
Spine IV; 26" x 18"; thread and tea bag holders on unprocessed wool; 2007 with detail above
Spine VIII; 38" x 18"; thread and tea bag holders on unprocessed wool; 2007My study of the human spine began with some rudimentary drawings and by stitching on canvas and other materials. I was scratching around the idea and exploring and considering options. The image below is among the first stitched artworks I did. Technique-wise, I liked the contrast of the stitching and the material but thought it could be pumped up to have more impact. That was when I began experimenting with wool felt. Conceptually, I thought I had a germ of a great idea that would improve with more stream of consciousness writing about spines physically, emotionally and as metaphorical symbols. That has proven to be the case as my fascination and study of the human spine has evolved quite a bit since this initial artwork.
Spinal Touch; 13" x 13"; thread on linen; 2006
Detail of Spine I; thread and tea bag holders on unprocessed wool; 26" x 18"; 2007
Preparatory Drawing; 22" x 30"; graphite on watercolor paper; 2007
Preparatory Drawing; 30" x 22"; graphite on watercolor paper; 2007
The two drawings above are examples of many I did that eventually evolved into the first felt art work pictured above.
Both of the above were made from a large open weaving of silk, bamboo and cotton. I laid in other fibers as you can see in the detail on the left. I still have a large part of this weaving that I would like to incorporate into my felt art work in the future. Both are clickable for larger views.
All of the images above are of one weaving; a raw silk and bamboo piece that was over 12' long! I love the way the bamboo shimmers against the raw silk. All are clickable for larger views.
Sunday, May 17, 2009
With a Nod to Agnes, 21" x 10" x 5", mylar, thread, © 2006
One of the artists whose work I referenced throughout graduate school (and beyond!) is Agnes Martin. I have a great deal of admiration for her work and her outlook on life. She found her place in life, her physical place that defined her most celebrated artwork and a passion for wanting the viewer to slow down and view the work as it was meant to be seen. Her artwork compels you to stop and let it wash over you, to be still, to envelop the calm.
Dress pattern?, various sizes, mylar, Pitt pen, thread, patterned paper, full and detail, © 2006
In my second year of graduate school, I was exploring the concept of perception. I did a lot of artwork using transparent mylar and thread. My concept was that dress size is just a perception and by altering the pattern pieces, our perception is skewed and it becomes artwork unto itself.