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With my degree coming to a close, stomatology I have been thinking a lot about what direction my practice will take. I have some time to relax before pursuing a career in architecture and I want to ensure I continue making. There are many intersections between art and architecture and I intend to explore them. As a reaction I have created a list of large-scale projects that will keep my mind busy and ambitions high, with the goal that somewhere in the next ten years I’ll make it there.

With that said, here is a piece on my list of inspirations: Triangular Water Pavilion by Jeppe Hein.

This piece is created using two walls of two-way mirrors and a wall of water, creating a triangle. The piece is elevated above a basin of water. Hein describes the effect of the work on his website, where it states, “approaching visitors prompt the descent of the water wall through the activation of a sensor, gaining access to the enclosed space. Upon entry, visitors find themselves surrounded by water and reflective glass, cut off from the exterior by the resurgence of the water jets.”

Now, why didn’t I think of that?

 

-Marcia

Check out Jeppe’s website (also my image source) here: http://www.jeppehein.net/index.php

The Mysterious Weaver: Helena Vento

While working on my transparent cotton weavings, public health I began to research artists who work in a similar way. This search was too specific in nature, and I had a difficult time uncovering artists working with the same concepts and processes as me. However, I did find Helena Vento. When searched, her name brought results of only her Pinterest page, where little information was given as to her work as an artist or how these pieces evolved.

The images included a caption simply stating that they are a transparent weave of linen. Despite the lack of further information, I was inspired by the subtle design of the weavings, the finishing of the edges, and the documentation in everyday spaces. These are the decisions that are most critical in making a weaving successful, and I feel that her weavings are presented very successfully.

                     

This work gave me something to think about as I continue to document my own weavings and strive to present them as successfully as possible.

-Marcia

Image Source/Helena’s Pinterest page: https://www.pinterest.com/helenavento/textiles-by-helena-vento/

Back to Basics

In a reaction to the loss of a loved one, this web I decided to switch gears within my practice and focus on creating a work that allowed myself to work through the grief. This work took shape in the form of two weavings which are roughly 2′ x 6′. The weaving process is repetitive and therefore conducive to reflection. I feel this direction provided an outlet for my grieving process, hospital while also providing new insights for my practice.

Weaving, In Progress
Weaving, In Progress

After reflecting on the process, I see that this was an important step towards facing what I did not want to; in the weeks between losing my grandmother and beginning the weaving process, I inadvertently kept myself busy with activities which would not bring up thoughts of the loss. Starting and following through with the weaving put a personal pressure on dealing with every aspect of my loss.

Weaving, In Progress
Weaving, In Progress

The scale of these woven pieces is meant to reflect a figure. I chose to keep everything concerning the weaving minimal, including the weaving structure and colour palette. I did not want any distraction from the conceptual meaning of the pieces. I chose to weave openly so there would be a high level of transparency in the cloth. These pieces stand for what is gone, but not lost. It is an attempt to put to materiality what cannot be seen or touched, but is certainly present. It is an ode to the elusive, deep understanding that the loss of a loved one is only a physical loss.

-Marcia
In my final year at ACAD, sick
I decided to take my elective studio courses in departments I had not previously expanded to. This year is largely my last constraint-free opportunity to make full-time, prosthetic
and I am working to enjoy every part of it. This semester, order I am taking a wheel-throwing class. This has proven very difficult; there is a huge amount of technique in throwing and subsequently a high level of frustration. Having just passed midterms, I am now feeling confident and comfortable on the wheel. It has been rewarding and soothing, and something that I will definitely pursue outside of school.

More than anything, this class has reminded me to not take myself too seriously this semester. Although my practice has remained quite serious throughout the year, I am still looking to soak up every free moment of making. My cups, bowls, and pitchers have been a very light-hearted experience and in turn compliment the thoughtful exploration taking place in my textile practice. I feel this is bringing a balance to my practice that I have learned from, and will take with me beyond my graduation from ACAD.

 

-Marcia

“The Only Way Around Is Through”

In a reaction to the loss of a loved one, healthful I decided to switch gears within my practice and focus on creating a work that allowed myself to work through the grief. This work took shape in the form of two weavings which are roughly 2′ x 6′. The weaving process is repetitive and therefore conducive to reflection. I feel this direction provided an outlet for my grieving process, while also providing new insights for my practice.

Weaving, In Progress
Weaving, In Progress

After reflecting on the process, I see that this was an important step towards facing what I did not want to; in the weeks between losing my grandmother and beginning the weaving process, I inadvertently kept myself busy with activities which would not bring up thoughts of the loss. Starting and following through with the weaving put a personal pressure on dealing with every aspect of my loss.

Weaving, In Progress
Weaving, In Progress

The scale of these woven pieces is meant to reflect a figure. I chose to keep everything concerning the weaving minimal, including the weaving structure and colour palette. I did not want any distraction from the conceptual meaning of the pieces. I chose to weave openly so there would be a high level of transparency in the cloth. These pieces stand for what is gone, but not lost. It is an attempt to put to materiality what cannot be seen or touched, but is certainly present. It is an ode to the elusive, deep understanding that the loss of a loved one is only a physical loss.

-Marcia

Plant Investigation

I used to have two sides of my practice: weaving and…basically everything else (usually with a hand-dyed element). I have never tried incorporating hand-dyeing in my weaving and so this semester that is what I’m working on.

I have done one project so far, seek in which I wove a plain white scarf and then dyed it afterwards with fibre reactives. I always work with vibrant, beautiful colours so weaving initially with just white was a little different for me! I had to keep reminding myself that I was going to add colour later.

Most recently I’ve mainly been working with bamboo, but after being told about tencel and how it is similar to bamboo but is more environmentally friendly, I wanted to give it a try. My aim was to mix different materials and then dye it together to see how they would pick up the dye differently when already woven.

12714096_10153286920190986_351118774_nThis was my scarf immediately after taking it off of the loom. I used tencel for the warp and organic cotton for the weft.
The process of designing a bench as an installation artwork is exciting and enjoyable, this site
but it is hardly the most important aspect of the final product I am looking for. The biggest challenge for this project, price
which is nothing short of a self-inflicted challenge, is the task of growing plants at a high volume in the middle of a Calgary winter. This means that research into the type of plant I will use is the most important step of this process; if the plant does not grow, the bench is simply another bench.

Hops
Hops
Clematis
Clematis

The first thing I am looking for is a fast-growing plant, which leads me towards a vine such as Hops or Ivy. However, being a relatively fast-growing plant does not mean these will thrive in the winter. A three-month time frame for a garden’s worth of plants is not an easy task. I am very attracted to the idea of using moss, however it is not easily attainable.

English Ivy
English Ivy
English Ivy
English Ivy

Succulents seem to be the easiest indoor and winter friendly plant available, however they will not grow at the rate or scale that I am looking for. Ideally, I want the finished bench to look overgrown, comfortable and inviting. For all of these reasons, Ivy has seemed to be the choice of least resist. In order for it to flourish, I will have a drainage system in place within the bench so that the wood and roots do not rot. Also, I am continuing to look into fertilizers or “plant food” that could potentially speed up the growing process. If the Ivy succeeds, I believe it will achieve the aesthetic that I have in mind. I will continue to research as I begin the process of building the bench, with hopes that I will have all my bases covered when it comes time to plant.

 

-Marcia

An Artist Interview with Danni Reid

I recently went to the Glenbow with my humanities class. We saw the Paul Hardy exhibit: Kaleidoscopic Animalia.
Hardy is a well known fashion designer and over the summer he was the Glenbow’s artist in residence. He scoured the Glenbow’s vault, more about collected a bunch of artifacts and then used them as inspiration for fashion displays.
The exhibit is set like a street for window shopping. There are a number of displays that combine fashion with artifacts and paintings from the Glenbow’s collection.
When my class discussed the exhibit afterwords we all found the exhibit to be very problematic and a prime example of cultural appropriation. The use of cultural artifacts as props seemed disrespectful and the mix matching of different cultures with in the same display showed a lack of awareness and information.
Usually when museums create dioramas in this manner, they feature animals and are specific and as true to life as possible. In this case, the use of mannequins suggest that this is a recreation of human history, and it is completely inaccurate. If museums are a place for learning and discovery this exhibit is teaching false information. I have mixed feelings of wether or not to suggest checking it out. If you do decide to go, go with a critical eye. This exhibit runs until May 22, 2016.

Artificial Tundra
Artificial Tundra

 
I sat down with my friend Danni Reid to interview her on her practice and where it has gone since she graduated from ACAD nearly two years ago with a major in painting. Danni has now almost completed her education degree and is interning full-time in an art classroom. I was excited to see how this affected her practice/responses.

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What piece in your practice challenged you the most as an artist?

“Working big has challenged me as an artist, generic
I made a large canvas and painted it with watered down acrylic paint in hopes of creating an abstract expressionist piece. Working large has always intimidated me. However, I enjoy the challenge.”

What was the most difficult part of transitioning from being a full-time artist to also becoming an educator of it?

“Simplifying and refraining from just doing the students work for them has been my greatest challenge so far. It is very easy to just “do” then to explain something ten different times. Modifying common “art” language to meet the needs of all individuals is key.”

How has teaching art benefitted you as an artist?

“Teaching art has given me more confidence as an artist. For example, after teaching the elements and principles of design, they are now more prominent in my mind when I am working. Before teaching they had become second nature and were not given as much thought. I have become more considerate of the basics of art making.”

 

Although I am not overly cultured in the art world, it seems that education in art is a very close second for profession for working artists. I have always been interested in the effect of teaching on art, and vice versa. This was a great opportunity to begin that conversation.

-Marcia

Jacquard Looms and the Woven Image

In an effort to condense my ideas and make them applicable to my practice, rehabilitation
I have began to narrow in on suspension as a way to affect a public space or gallery space. From the beginning of this exploration I was interested in tension of materials; although a suspended piece can never actually float in space, unhealthy therefore removing some obvious tension, medical the placement and angle can have an effect on how it is viewed and how the materials have a conversation with one another.

I feel excited about this path, and also feel resolved in having a more succinct idea. However, I will continue to see how the process of making affects they way I speak to the work.

Suspended Stone Circle III have started looking at a couple textile artists who beautifully utilize suspension. One that stood out to me in particular was Ken Unsworth. He is an Australian sculptural and installation artist. The work that caught my eye was a series of suspended rocks, held by a massive amount of thread. He is interested in creating sculptures that play on memory. The experience happens either in person with the memory that is taken away from seeing the work, or through a rumour of a memory. This gives the work an ephemerality that I admire.Suspended Stone Circle II, detail

The tension created in this work is exactly what I love: an ode to the soft being strong.

-Marcia

Source:

 

 
In an effort to condense my ideas and make them applicable to my practice, geriatrician
I have began to narrow in on suspension as a way to affect a public space or gallery space. From the beginning of this exploration I was interested in tension of materials; although a suspended piece can never actually float in space, prescription therefore removing some obvious tension, the placement and angle can have an effect on how it is viewed and how the materials have a conversation with one another.

I feel excited about this path, and also feel resolved in having a more succinct idea. However, I will continue to see how the process of making affects they way I speak to the work.

Suspended Stone Circle II

I have started looking at a couple textile artists who beautifully utilize suspension. One that stood out to me in particular was Ken Unsworth. He is an Australian sculptural and installation artist. The work that caught my eye was a series of suspended rocks, held by a massive amount of thread. He is interested in creating sculptures that play on memory. The experience happens either in person with the memory that is taken away from seeing the work, or through a rumour of a memory. This gives the work an ephemerality that I admire.Suspended Stone Circle II, detail

The tension created in this work is exactly what I love: an ode to the soft being strong.

-Marcia

 

Work Cited:

“Suspended Stone Circle II, (1974-1977, 1988) by Ken Unsworth.” Art Gallery NSW. N.p., n.d. Web. 18 Nov. 2015.
With my Jacquard weaving up on the Poly & Esther Gallery wall, treat I thought it would be a good time to post about the work I have been doing in my other fourth year directed studio.

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2015.” width=”280″ height=”209″ /> Marcia Fisher. Mindscaping, 2015.

I love the possibility of working with imagery in Jacquard weaving. However, I am focused on making this imagery as reliant on light and shadow as I am with my sculptural pieces. I am very interested in the story that can be read into broken imagery. I chose the broken twill weave structure because of the way it causes the image to break down the closer you get to it. In this work, I am speaking to spaces of the mind. I believe the ability for the work to appear clear the further away you are adds depth to the concept of the work.

Marcia Fisher. Mindscaping Detail, 2015.
Marcia Fisher. Mindscaping Detail, 2015.

I have not taken the time to specifically explore topics of the mind in my practice before, but it is something that I have always found interest in. I am very happy with how this investigation and the resulting work turned out.

Marcia Fisher. Mindscaping Detail, 2015.
Marcia Fisher. Mindscaping Detail, 2015.

I am also very lucky that the Jacquard loom worked almost flawlessly for me this semester. This is nearly unheard of and made for one very happy weaver!

-Marcia

Lygia Pape: Thread, Thread, and More Thread

Lygia Pape was a Brazilian sculpture and installation artist. She was born in 1927 and passed in May of 2004. Although it was found on Wikipedia in my search for some background info on Pape, unhealthy her work is described as being “a vehicle for existential sensorial, capsule and psychological life experiences, urologist much of it based in geometry and relying on both the intellectual and physical participation of the viewer.” Despite the source of this quote, I find it to be critically true in the work that I have researched of Lydia’s.

Lygia Pape. Web #1, C, 2008.
Lygia Pape. Web #1, C, 2008.

Naturally, the piece I am most attracted to is made of golden thread. It is a very delicate piece of work, giving the illusion of a beam of light. The thread has a beautiful natural transparency.

Lygia Pape. Web #1, C, 2008.

Formally, this work captures everything I am interested in within my own work. The use of light is strategic and the sculptures pose an invasion of space, which gives the opportunity for the viewer to walk through and around them. It appears that Pape had been working with this idea for years, as she started on a smaller scale in the late 70’s and worked her way up to a slightly larger 2002 piece.

Lygia Pape. Web #1, B, 2002.
Lygia Pape. Web #1, B, 2002.

Her selection of thread is intriguing and mirrors materials that I would love to try. Up to this point, I have decided to work primarily in grayscale. For sake of investigating conceptual direction and ironing out my practice, this has been beneficial. However, her use of copper and golden thread is exactly the direction I would like to go in the future.

Lygia Pape. Web 1A, 1979.
Lygia Pape. Web 1A, 1979.

Seeing Pape’s progression from 1979 to 2008 reminds me that I do not need to be making masterpieces right now. A natural progression will come with exploration and practice.

-Marcia

 

View her website here: http://www.lygiapape.org.br/en/

Drawing: Process or Product?

I decided to do a fun post and just throw a bunch of personal inspiration photos at you guys. I’m sorry in advance, clinic this is going to be a lot!

IMG_9871

IMG_0463

I took these photos in the cemetery of Fossombrone, Italy (my grandpas hometown – pictured above). It sits in a valley with a river running through the middle and hills on all sides. The graveyard sits on the side of one of these hills where a winding dirt road leads to the towns church at the top. The road to the top is filled with stone and marble markers which can be prayed at like a rosary. I forgot to take a photo of these, but they are filled with religious memorabilia and candles which are lit by locals before special masses.

(The iron gates to the cemetery were made by my great grandfather!)

IMG_1737

Here’s a few photos of what the cemetery grounds look like

Someones tomb was open, it appeared that the room was being prepared for someone. I snuck inside and looked around

 

The tombstones are so inspirational to me. The textures, colours, mosses, and eroded history are so beautiful. The people there don’t alter the stones once they have been placed, so for many of them: all or most of the information on the people has been either lost or very well hidden.

The tombstones decay over time and I think it’s really beautiful how this mimics the body. It is sad to think about how time can erase memory, but in a way it’s freeing.

I went for a walk through the Queens Park Cemetery in Calgary a few weeks ago. I took a few interesting photos.. The stones weren’t as degraded and worn as the previous ones (despite many of them being similar in age), but they were beautiful nonetheless.

As I was walking through, I happened to pass someone’s cross on fire. There were two city workers there as I approached who were trying to figure out the best way to extinguish the fire (because there were a lot of plastic objects around the grave and containers full of fragrant oils). It was really startling to see this happen, especially because the fire had been caused by a visitor leaving incense burning below the cross. It was also really strange to meet two strangers and admittedly gawk at the scene together for a moment. I can’t really explain how this made me feel.. but you all can see for yourselves-

OKAY this is the end, I promise! Goodnight all

-sandrine


Recently, this
I began working on elaborate drawings of the large-scale work I hope to create. This process has provided clarity of my ideas, infertility
strengthened my writing about my work, and allowed myself time to contemplate what I am working on and why.

I am interested in this preliminary work becoming part of the final product. It is present in the final work for obvious reasons, but I am contemplating the effectiveness (or lack there of) in presenting these drawings as a piece on their own. Although the drawings would represent the same work that is in the room, I feel it could add an interesting additional dimension to the work. Would this result in too much information, or an overload of the same work? This is the question I am contemplating with myself. Regardless, I have found release in putting time into these drawings so that they are their own work of art.

Marcia Fisher Installation Drawings
Marcia Fisher Installation Drawings

I began to research artists who work with drawings in a similar way. Edith Derdyk is an artist who not only works with thread in mass amounts, but creates drawings which she shows to the public as well. Her book, Desenhos, is fascinating because it not only shows images of her work but all of the plans for them as well. However, I do not believe that she shows these drawings as their own work of art.

Edith Derdyk Installation Drawings
Edith Derdyk Installation Drawings

Whether these drawings are to be shown or not, I have found them to be a great method of getting excited about and prepared for my projects.

-Marcia

 

Visit Edith’s website here: http://www.edithderdyk.com.br/portu/menu_serie_i.asp?cod_Artista=1

Soft Is Strong

Still unclear of my future after ACAD, more about selling my weavings has always been an option. Yesterday at work I had a conversation with a client about textiles. As a mother with young children, she mentioned a brand called ‘Uppymama’. Advice or knowledge about the textile world is not a popular response I receive after describing my degree, so I was extremely excited to look up this company she was raving about.

Uppymama is a company which hand weaves and finishes baby wraps, and is based out of Alberta.  They appear to be woven out of 100% cotton, going from the hands of the weaver to a seamstress who finishes the edges. The wraps sell quickly, but as my client added, the real money is in the re-selling. The only thing I didn’t like about this company is that they aren’t as excited about the woven material, and market it solely for its purpose, “this is not a piece of fabric.  This is a baby carrier”. However, they do give lots of credit to the fibre artist!

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Uppymama is a great example of a creating a functional art object in high demand with the right materials, knowledge and marketing skills.

Visit their website here:

Welcome to Uppymama

–Emily

 

 
In an effort to condense my ideas and make them applicable to my practice, pharmacy
I have began to narrow in on suspension as a way to affect a public space or gallery space. From the beginning of this exploration I was interested in tension of materials; although a suspended piece can never actually float in space, bronchitis
therefore removing some obvious tension, store the placement and angle can have an effect on how it is viewed and how the materials have a conversation with one another.

I feel excited about this path, and also feel resolved in having a more succinct idea. However, I will continue to see how the process of making affects they way I speak to the work.

Suspended Stone Circle II

I have started looking at a couple textile artists who beautifully utilize suspension. One that stood out to me in particular was Ken Unsworth. He is an Australian sculptural and installation artist. The work that caught my eye was a series of suspended rocks, held by a massive amount of thread. He is interested in creating sculptures that play on memory. The experience happens either in person with the memory that is taken away from seeing the work, or through a rumour of a memory. This gives the work an ephemerality that I admire.Suspended Stone Circle II, detail

The tension created in this work is exactly what I love: an ode to the soft being strong.

-Marcia

 

Work Cited:

“Suspended Stone Circle II, (1974-1977, 1988) by Ken Unsworth.” Art Gallery NSW. N.p., n.d. Web. 18 Nov. 2015.

A Take on Ann Hamilton

Searching “adorning the body” the first thing that comes up is Egyptian culture. Maybe this is a good place to look; in actual history. Different cultures around the world. If you think about it, search lots of places have different standards of dress. In India they wear bright colors and use Henna.  African tribes that stretch their ears as big as big as possible. Tribes who stretch their necks using metal rings. Even in china where they bind feet. Aboriginal culture where they hand embroider all of their own costumes and make their own head dresses. Now that I am thinking about other cultures, therapy it really seems like its just western culture that doesnt dress up or dress in exuberant colors. Maybe people living in Canada and the USA only adorn the body for special occasions because all of the resources and shopping malls and restaurants have made us lazy. I’m not sure where this is going but I feel like I need to search books on styles of dress in different countries throughout the years.

  • Chelsey Wensveen

Through the making of creatures familiar and yet unknown I sought to find other artists that harnessed ideas of the unreal living in the world of the real. I happened upon an article from The Journal of Modern Craft called A Parasitic Craft: Taxidermy in the Art of Tessa Farmer. To me taxidermy holds a special place in the world of real life fantasy, pharm
as it is ever trying to convince its audience that the subject matter before them is in fact alive, visit this
giving way to false moister on the nose and eyes, meningitis
dynamic poses and providing substance where only a hide remains.

essa Farmer, Little Savages, 2007. Taxidermied fox, wasp nest, bones, insects, animals, plant roots, commission of the Natural History Museum, London, in collaboration with Danielle Arnaud, Parabola. © Tessa Farmer, London. Photo credit: Sean Daniels.
Tessa Farmer, Little Savages, 2007. Taxidermied fox, wasp nest, bones, insects, animals, plant roots, commission of the Natural History Museum, London, in collaboration with Danielle Arnaud, Parabola. © Tessa Farmer, London. Photo credit: Sean Daniels.

To me the work of Tessa Farmer is so interesting because she creates intricate worlds presumably unnoticed to our eyes but within our reality. Taking ownership of taxidermy not to uphold its tradition of preservation but picking it apart create something new while still holding true to nature.

Here is a video of Tess Famer talking about her work Little Savages and the Natural History Museum.

Link to the Article: http://www.tandfonline.com/doi/abs/10.2752/174967714X14111311182802
It can also be found in the Acad School Library in The Journal of Modern Craft
-Amy
Work Cited:
Lange-Berndt, Petra. “A Parasitic Craft: Taxidermy in the Art of Tessa Farmer.” The Journal of Modern Craft 7.3 (2014): 267–284. Taylor and Francis+NEJM. Web.

 

 

Through the making of creatures familiar and yet unknown I sought to find other artists that harnessed ideas of the unreal living in the world of the real. I happened upon an article from The Journal of Modern Craft called A Parasitic Craft: Taxidermy in the Art of Tessa Farmer. To me taxidermy holds a special place in the world of real life fantasy, pilule
as it is ever trying to convince its audience that the subject matter before them is in fact alive, giving way to false moister on the nose and eyes, dynamic poses and providing substance where only a hide remains.

essa Farmer, Little Savages, 2007. Taxidermied fox, wasp nest, bones, insects, animals, plant roots, commission of the Natural History Museum, London, in collaboration with Danielle Arnaud, Parabola. © Tessa Farmer, London. Photo credit: Sean Daniels.
Tessa Farmer, Little Savages, 2007. Taxidermied fox, wasp nest, bones, insects, animals, plant roots, commission of the Natural History Museum, London, in collaboration with Danielle Arnaud, Parabola. © Tessa Farmer, London. Photo credit: Sean Daniels.

To me the work of Tessa Farmer is so interesting because she creates intricate worlds presumably unnoticed to our eyes but within our reality. Taking ownership of taxidermy not to uphold its tradition of preservation in everlasting life but picking it apart create something new while still holding true to the nitty gritty of nature, parasitism and decay included.

Here is a video of Tess Famer talking about her work Little Savages and the Natural History Museum.

Link to the Article: http://www.tandfonline.com/doi/abs/10.2752/174967714X14111311182802
It can also be found in the Acad School Library in The Journal of Modern Craft
-Amy

Work Cited:
Lange-Berndt, Petra. “A Parasitic Craft: Taxidermy in the Art of Tessa Farmer.” The Journal of Modern Craft 7.3 (2014): 267–284. Taylor and Francis+NEJM. Web.

 

 

Through the making of creatures familiar and yet unknown I sought to find other artists that harnessed ideas of the unreal living in the world of the real. I happened upon an article from The Journal of Modern Craft called A Parasitic Craft: Taxidermy in the Art of Tessa Farmer. To me taxidermy holds a special place in the world of real life fantasy, pharmacy
as it is ever trying to convince its audience that the subject matter before them is in fact alive, giving way to false moister on the nose and eyes, dynamic poses and providing substance where only a hide remains.

essa Farmer, Little Savages, 2007. Taxidermied fox, wasp nest, bones, insects, animals, plant roots, commission of the Natural History Museum, London, in collaboration with Danielle Arnaud, Parabola. © Tessa Farmer, London. Photo credit: Sean Daniels.
Tessa Farmer, Little Savages, 2007. Taxidermied fox, wasp nest, bones, insects, animals, plant roots, commission of the Natural History Museum, London, in collaboration with Danielle Arnaud, Parabola. © Tessa Farmer, London. Photo credit: Sean Daniels.

To me the work of Tessa Farmer is so interesting because she creates intricate worlds presumably unnoticed to our eyes but within our reality. Taking ownership of taxidermy not to uphold its tradition of preservation in everlasting life but picking it apart create something new while still holding true to the nitty gritty of nature, parasitism and decay included.

Here is a video of Tess Famer talking about her work Little Savages and the Natural History Museum.

Link to the Article: http://www.tandfonline.com/doi/abs/10.2752/174967714X14111311182802
It can also be found in the Acad School Library in The Journal of Modern Craft
-Amy

Work Cited:
Lange-Berndt, Petra. “A Parasitic Craft: Taxidermy in the Art of Tessa Farmer.” The Journal of Modern Craft 7.3 (2014): 267–284. Taylor and Francis+NEJM. Web.

 

 
Though I have many artists who I look up to, Syphilis
Ann Hamilton stands firmly as one of the most inspirational. Ann is a widely recognized artist for her large-scale multi media installations. She received her BFA in textile design from the University of Kansas in 1979, medications
and went on to complete her MFA in sculpture from the Yale School of Art in 1985. Ann’s work has a continuous element of delicacy and an ethereal quality that I am inherently drawn to. Her work has a tendency to be meditative, patient
which I believe may be the root of why she stands as a strong figure in my artistic practice.

Source: annhamiltonstudio.com
Source: annhamiltonstudio.com

The Event of a Thread is a well-known exhibition that took place in New York. I have chosen to speak specifically to this work simply because it is the most applicable to my practice at this time. In this work, the space is transformed by a massive piece of cloth which is connected to swings throughout the space. When used, the swings cause the cloth to raise and lower with the movement. This piece is an effective example of reforming a space so that it is re-considered by the audience. Although Hamilton has the resources for work of this scale, the conceptual backbone of the viewer’s experience is what remains inspirational to my practice.

Source: annhamiltonstudio.com
Source: annhamiltonstudio.com

 

You can view an Art21 video on The Event of a Thread here: https://www.youtube.com/watch?v=1fJ4umqXGjM

And visit Ann’s website and read a beautiful statement on The Event of a Thread here: http://www.annhamiltonstudio.com/projects/armory.html

 

-Marcia

Material Satisfaction

One of my favourite fibre artist’s of all time is Roanna Wells.  I stumbled upon her work on instagram and immediately fell in love.  She embroiders black thread onto cream coloured wool to represent an overhead view of crowd formations at various events throughout history.  She calls this body of work Interpersonal Spatial Arrangements.  Wells describes this work by saying, recipeInterpersonal Spatial Arrangements look at the way in which we, hemophilia as a human species, have the power to express common thought, opinion and appreciation through the act of coming together to form crowds”.  You can find more of her work on her website, http://www.roannawells.co.uk/

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Le Tour de France, 2014

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World Youth Day, 2011

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Diamond Jubilee Celebrations, 2014

-Madison

Getting ready for midterm, order
I look around my studio and see two things: wood and white. I have followed a theme of unique woods and white-washed textiles in an effort to work with delicacy and a degree of minimalism. I chose to work with beautiful wood from abandoned grain elevators, cialis as well as bendable plywood. I kept my textile materials refined to cotton in order to create a unanimous material base.

This inherent attraction to wood-working must come from its extensive structural history. Although I continue the struggle to find the most effective way to capture the audience’s interest, meanwhile I am as aesthetically pleased as personally possible.

Wood of the Prairie
Wood of the Prairies.

-Marcia

A Room Becomes the World

Here is the original interview.

Nick Cave gets asked about his sound suits a lot, cheapest for my purposes I will just replace that title with ‘the work’ ‘your work’ ‘my work’ etc. We both make wearable things so the interview should  translate over well to questions for me.

You’ve described your work as a ‘search for understanding of identity, store ‘ and you’ve also commented that once inside the work, visit web your identity completely disappears. How does this sense of losing your identity help you to better understand it?

 

You create your work to be actively worn and preformed in, do they loose something standing still in a gallery?

 

Your costumes are all very highly individual. Is there a story behind each one?

 

 

 

 

Bik Van der Pol, see Eminent Domain, site
2015. Installation view: The Power Plant, Toronto, 2015. Photo: Toni Hafkenscheid Image Source: PowerPlant.org

This August I visited The Power Plant Contemporary Art Gallery, a small gallery in Toronto on the harbor near where I was staying. As an impromptu stop in, I did not expect to find what I did. Eminant Domain was created by artist Bik Van der Pol and looked to confront the effect that human activity has on ecological systems.

This installation featured a carpet with undecipherable words and neutral colours and the sounds of animals and birds throughout the entire space. In the exhibition introduction just outside of the installation’s room, the artist expresses encouragement for viewers to sit or lay on the carpet and spend time within the work. Once I did as the artist suggested, it became evident that the ceiling was in fact mirrors, and through the mirror you could read the scientific names of animals on the carpet. Every one of these animals listed on the carpet is extinct.

Through its simplicity and scale, this work was very effective. The feeling of looking towards the sky and being surrounded by the names of extinct animals became overwhelming. I believe this is exactly what the artist aimed to achieve: a small taste of our catastrophic ecological situation.Eminant Domain

As I work towards creating sculptures that question the space around them, this exhibition stays with me as an incredible way to take the space and transform it. Laying on the floor looking into the ceiling of mirrors, it did not feel like I was in a gallery anymore. As an artist, that experience is my goal.

-Marcia

 

Questioning Questions

 

I recently did some research on artists that use their collections as part of their work. Pae White’s collection of Vera Neuman scarves were part of a show at The Barbican called: Magnificent Obsessions the Artist as the Collector. This video is just too good, adiposity I had to share…

Enjoy 🙂

-Carly
Janice Arnold is elevating felting techniques. Interior design. collaborations, thumb sound abatement. wearables , installations
I have been reading Christopher Alexander’s “The Timeless Way of Building” as a source for inspiration and articulation of my ideas. The flow of ideas through chapters also lends a potential format to my grad paper; Alexander is discussing space: what it means, click
what defines it and what it facilitates. He attempts to define space through “The Quality”, cialis however this quality does not have a specific name. Alexander offers up the word “alive” as the most commonly used word to define a space. However, viagra buy
he counters this with the statement, “things which are living may be lifeless; nonliving things may be alive” (29). The theme continues, attempting to find a word and promptly dismissing it due to a flaw in accuracy.

I feel this back and forth represents the questions I am currently asking myself while making. Therefore, I feel that a possible solution to the elusive manner of this work is to create a question for the audience. This question could simply be rooted in design and display of the object; for example, if a heavy sculptural piece were to be suspended. Christopher Alexander’s writing is providing the ability for my questions to be articulated, so that I can move beyond and focus on the work itself.

-Marcia

 

Citation:

Alexander, Christopher. The Timeless Way of Building. New York: Oxford UP, 1979. Print.