08 8 / 2013
Stumbled across the beautiful embroidery works of Megan Canning.
My work investigates the relationship between science and memory, and is directly informed by neuroscience, immunology, anatomy, and physiology (with particular focus on the five sense organs). The human body is a source of inspiration and fascination, as it is the instrument of our lived experience — both where and how we collect implicit and explicit memories.
Hand-embroidery is my primary medium because sewing literally pierces the ‘skin’ of the paper or canvas, yielding an orderly, clean surface and a messy, chaotic underbelly — just like the skin is a calm and placid exterior that masks the messy inner workings of the human body.
As human beings, we are in a constant state of becoming, of being made by our emotional and physical experiences — by what we have smelled or touched, what we have seen or heard, where we have been or what we have eaten. My work attempts to illuminate the intricate relationship between the physical body and the individual emotions and memories it gathers over time, inviting the viewer to contemplate their own understanding of what it is to be human.
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16 6 / 2013
CRAFTIVISM THE GATHERING
And lots more info about this show here: http://www.coralshort.com/craftivism-the-gathering/
Hello friends! If you are in New York the weekend of July 12th, come check out my installation at Craftivism! This show will feature works of some amazing artists from 10 cities across North America. Here is the Facebook event link for more information.
12 6 / 2013
Morwenna Catt, textile artist and designer.
via Brian Sherwin at myartspace:
Morwenna Catt uses childhood iconography to examine the roots of our desires and fears. Morwenna is interested in using these fractured displays of youthful innocence in order to explore the disparity between the mythologies of childhood and the reality of our world. She examines our collective relationship to objects and memory, nostalgia and psychosis by presenting the recognizable icons of our infancy in a manner that is sometime alarming and at other times disturbingly charming.
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21 4 / 2012
Foreclosure Quilts - Kathryn Clark
"My previous work as an urban planner made me acutely aware of how big an impact the foreclosure crisis would have on our cities and towns throughout the United States. However, very little was mentioned in the news.
It was important to me to present the whole story in a way that would captivate people’s attention and make a memorable statement. Making map quilts seemed an ironic solution. Quilts act as a functional memory, an historical record of difficult times. It is during times of hardship that people have traditionally made quilts, often resorting to scraps of cloth when so poor they could not afford to waste a single thread of fabric.
The neighborhoods shown are not an anomaly; they are a recurring pattern seen from coast to coast, urban to suburban neighborhoods across the US. The problem has not been solved, it is still occurring, just changing shape, affecting more of us.”
Kathryn Clark worked as an architectural and urban designer for seven years before becoming a full time artist in 2005. A traditional painter and photographer for twenty years, her studio slowly became full of remnants of yarn, wire and stacks of linen and burlap. One day, she put the paints and paintbrushes away, pulled out the fabrics and began sewing and layering thread.
Kathryn’s work revolves around the wabi-sabi principles of simplicity and awareness of time. Sewing and weaving express the time and effort it takes to create each piece while emphasizing the simplicity of needle and thread. She also writes a blog to inspire and inform other artists who work in the unique genre called Articraft: artists who use craft in their work and craftspeople who make art: www.kathrynclark.blogspot.com
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05 4 / 2012
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15 3 / 2012
Margarita Benitez, artist
Margarita Benitez is an art + technology and fiber artist based in Chicago + Miami. She is interested in the explorations of art within the making and DIY culture. Her work is rooted in exploring underlying social issues in technology – exploring how today’s society copes with the overwhelming presence of technology, surveillance, data mining and media bombardment. Her work has been exhibited nationally, internationally, and featured in Leonardo and Surface Design magazine.
Untitled (nightvision iraq war still), 2005
MEDIUM: cross stitch
DESCRIPTION: appropriated image of iraq war night vision scene replicated in cross stitch. meditative piece about the duration of the war, the displacement of our reality and that reality which the media presents us.
war cheerleaders , 2005
MEDIUM: 22 thread count weave 54” x 36”
DESCRIPTION: This is part of a current body of work that I am developing. They are woven still images taken from live video. 22 thread count jacquard weavings printed on a computerized loom. They deal with the daily bombardment of images from the media by freezing them to 1/30 of a sec.The pieces question the displacement from reality created by such technology and the penetration of those images into our subconscious. Here we see that sometimes truth is stranger then fiction.
All images and text via: Margarita Benitez
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15 3 / 2012
Stéphanie Baechler - artist
text & images via stephaniebaechler.com:
Starting point for my project are formations, shapes and material combinations that result from the rather accidental than conscious every day actions of human life. I was inspired by curtains, fabric pleats, plastic bags, fabrics that happened to be spread on the floor, wrapped objects and creased blankets. The sheer fascination that fabric drapery can evoke! I was equally absorbed by mass production of clothes, their usage (consumption) and wastage. Realising this project I am interested in various approaches: Paper or fabric installations in 3D, the processing into a two dimensional pieces of fabric and the creation of a textile object that turns into a symbiosis of 3D and 2D. First I produced installations using plain coloured fabrics. The guidelines for my formations were the above mentioned pleats and colour moods (ranges). I printed these onto fabric. This lead to a new perception (point of view) of the different composed pieces of fabric. Working on these installations an idea struck me. To new shapes, away from rolls of fabric! The fashion designer receives fabric objects and not just rolled up fabric! No yard goods! The designer’s challenge is to use these new conditions to create something new. A pair of scissors and a model demonstrate a possible realisation of that very idea.
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26 2 / 2012
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