I was re-introduced to clay last year and fell in love. I am constantly looking for connections, tadalafil possibilities, advice and relationships clay has to textiles and fibre. I have found that there many similarities in processes, help materials, surfaces. Last year I did some research into slip casting and burning out textiles leaving ghost like fabric impressions (left image).
I recently found this small group of artists that form Atelier Murmur. Wang Zhuo, Jiang Xinhe, Sun Jinjin work collectively from Hangzhou, China. Their ceramics are who found a clever way to use fabric dying and combine it with slip casting. Instead of traditional glaze application, they dye textiles with mineral pigments then incorporate them right into the slip casting process. I love the subtle dye-like impressions and fabric texture left behind in the finished ceramic work.
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.”
I stumbled upon this organization called Idea Exchange while researching Canadian art galleries. What’s unique about Idea Exchange is that they have a database of their fibre arts collection, tadalafil which can be accessed online:
You can browse the collection by region, price type, this site materials, techniques and date, allowing you to find artists and work that may be similar to your own practice. For example, I input a search for Type: Sculpture and Material: Steel Wire and discovered the work of artist Arounna Khounnoraj. Give it a try and see what you find!
My FINA class has just set up an exhibition in the library called Unshelved, buy which is on display until April 8th. The theme is art as future making, which allows for a broad range of subject matter. I am enjoying the novelty of working with people from other departments.
My project features paper yarn spun by hand from the pages of an old dictionary. I then wove it into a tapestry with a cotton warp. I also cut out words beginning with “re” and their definitions. I was contemplating the connections between language, storytelling, and textiles, and their restorative potential. The wooden spindle and spool reinforce the spinning associations, drawing greater attention to process. Spinning and weaving with paper were extremely time consuming but I’m happy with the result.
Spinning and weaving with paper yarn is particularly popular in Japan. The resulting cloth is called shifu. They normally use stronger papers made from kozo or gampi, which can be spun using a spindle or wheel (my dictionary paper was too fragile and I had to do it all by hand). You can find helpful tutorials here, here, and here. Some good books are A Song of Praise for Shifu, by Susan J. Bird, Kigami and Kami-ito, by Hiroko Karuno, and Paper Textiles by Christina Leitner.
Although this post is not really about fibre it is about empowering girls. One thing I love about our fibre realm at ACAD is the amount of ladies! It is an amazing atmosphere that feels comfortable and secure. To be in a place that makes you feel confident frees you to explore and experiment. That’s what I like about Tekla Festival. It is an all girl tech conference where girls of any age can come and interact with technology without any boys present. It gives girls a chance to try something they might not normally experiment or play with in hopes of encouraging more girls to work in the tech industry. Check out the video… I want to go…
Her works involves a lot of thread windings and mixed media.
Here is some of her works and a video interview.
All the Same, prothesis 2011, Colored silk threads, synthetic skeletons, and metal constructions. Approximately 590 1/2 in. (1500 cm) “The Same”, Beijing Center for the Arts, December 18, 2011 – march 10, 2012
Untitled (Bonsai Tree) (2012)
Bonsai tree, threads, metal constructions
(photo by Megan Lee / Meniscus Magazine)
We are currently accepting applications to be part of this dynamic and vital part of Calgary’s cultural scene as participants in a self-directed summer residency and end of residency exhibition. Residency participants will have the option to work with the group to develop a community of fibre artists through workshops, treat critique sessions and exhibitions throughout the year.
We are seeking individuals who:
Are interested in working within a co-operative studio setting
Will be actively involved in, caries and contribute to, our community
Seek access to affordable studio space and specialized equipment
Are interested in sharing their knowledge and skills through teaching and collaboration
Appreciate and practice the diversity of textile arts and craft
Embrace an environmental approach to studio production
Are ready to commit a fee of $250 for a three-month, or $150 for one-month summer studio rental and access to equipment.
Will contribute to the end of summer residency exhibition.
Please visit – Contextural.ca for more information on our mission, vision, and values.
One-month residencies areMay 29 – July 3(with mandatory attendance for orientation & move-in Sunday, May 29 at 1:00pm) and July 24 –
August 28(with mandatory attendance for orientation & move-in on Sunday, July 24 at 1:00pm).
Three-month residency is May 29 – August 28 with mandatory attendance for orientation/move-in Sunday, May 29 at 1:00pm.
How To Apply – Please review the attached submission information package or visit contextural.ca/residency-application. Current Contextural members are only required to submit a statement of intent unless you would like to be considered for the scholarship. See the scholarship section below for details.
Deadline for submissions is Sunday, March 27th @ midnight. If accepted, residency fees are due with the acceptance form and supply order form by May 1st.
Again this year, Contextural will be offering the Contextural Summer Residency Scholarship to individuals or members applying for the three-month residency. The scholarship includes studio fees for the three-month summer residency ($250 value) and $250 for supplies.
As I continue my colour research I must acknowledge the artists who work with the absence of colour. Two artists I have been looking at are Maximilian Schubert and Piero Manzoni, what is ed who have a very similar aesthetic.
Schubert is an American artist working with materials towards a minimalist end result. One series of his imagines “painting-as-object”, anabolics mixing sculpture and painting elements into one. The pieces are done in an all white palette which are then left titled Untitled. Another series inspired by drawing, treat uses brass to create sculptural or 3D drawings. Information on him and his art is limited on line, while lots of images are available.
Manzoni was an Italian artist living from 1933-1963. He is the artist we all know as the guy who canned his own feces and sold it as art. However, what I am interested in is his sculptural, monochromatic paintings. Similar to Schubert’s pieces, Manzoni drew his inspiration from questioning traditional artistic practices, experimenting with new materials and really playing into conceptual art.
We laugh a lot about the stretching gap between his needs and mine. Him needing more of his own space and my covert needs to keep on smothering him with maternal love. I am a textiles designer and he often helps me and has great creative ideas. So we started to fantasize how we could visualize this puberty gap. So I suggested to make a cuddly version of him!
Much like Tessa Farmer work, see the artist Kate Clark utilizes taxidermy in her practice. I feel a great connection with Kate Clarks work as she focuses on the subject of anthropomorphism quite literally. I think it is within human nature to draw connections between ourselves and others that are not human, website whether that be a plant, information pills an animal or simply an inanimate object, in order to create a greater understanding between Human and other. I think out of these animals are most easily anthropomorphized. We can see this in fairy tales as these short stories which often contain animals with both animal and human characteristics playing on our own assumption that animals have human characteristics and humans have animal characteristics. With Kate Clarks work I believe that is speaks well to the idea of literally living in someone else’s skin to find a relation that wasn’t there before. I found this video of her talking about her practice and found it interesting to learn that she also works with sculpey in her practice, as this is a material I have been using in order to sculpt the faces hands and feet on my Chimera creatures.
Take a look at this video and I hope you enjoy!!
ACAD Alumni Bree Zorel and her partner Juan Jose have started Tenderfield: adventures in handmade, anaemia
ethical textiles sourced from Chile and/ or made in Canada.
Tenderfield celebrates considerate design and slow cloth – textiles that are handmade, recycled, all-natural, fair trade, and made with purpose. We believe in supporting textile knowledge and technologies, skill sharing, and cloth as a community building activity. We teach classes and provide thoughtfully made goods for those who appreciate the delights of slowly and considerately made textiles.
Tenderfield fibres, whether yarns or recycled fabrics, are chosen for their pure natural fibre content whenever possible. Natural fibres include alpaca, lambswool, cashmere, merino, linen, leather, silk, and cotton. Whether hailing from flora or fauna, we believe that the pleasure of natural fibres next to our skin and in our homes is the squishiest, softest, and loveliest thing we could ask.
Tenderfield is helping support the continuation of hand made textile traditions through the practice, economic support, and transmission of knowledge of knitting, quilting, spinning, weaving, dyeing, shoemaking, mending, and other traditional fibre techniques. Artisans are all paid a fair wage for their creations, whether articles are made in Canada or in South America.
The only other studio class I am taking this semester is a Linocut print class with Heather Huston (PRNT 211), approved so I was wanting to somehow connect that with the only fibre class I was taking! As most of you know, one health I’ve been focusing on crystal and fossil imagery in my fibre work so obviously that is what I included in my prints.
For the first project, surgery I used the ammonite fossil as my main image:
The first assignment was a simple black image and was used to become familiar with the technique.
As the class went on we were taught how to experiment more with colour and different techniques and layers. This was exciting for me because I love to play with colour in my fibre work! For my second project I chose to go with the crystal image. I was wanting to create a sense of heaviness on the bottom of the image – a weight or force.
For the last project we were given free reign, so I decided to stick with my crystals but combine them with fibre. I created a crystal print for crystal pouches – something to keep your precious crystals and gems safe! I used the materials and colours that I did because I wanted to give off a comfy and warm feeling, a cozy feeling. I had an interesting discovery while making these – prints by definition are made almost in a production line which I was not enjoying when I started down that path for the grad class…but I really enjoyed the process in making these pouches! What was the difference? Maybe it was the technique? I still don’t know but I am excited to grow some more and find out.
Members $10/General $12
Artist Janice Wright Cheney and animal humanities professor Susan Nance join Glenbow artist-in-residence Paul Hardy to discuss the relationship between humans and animals in design and culture. Moderated by Melanie Kjorlien.
Have you ever read Selvedge Magazine? The school library has a subscription and I highly recommend checking it out. A friend of mine got me a digital subscription for my birthday. It is a beautiful publication full of some of my favourite things: textiles in fashion, fine art, interiors, travel and shopping.
I read a really great article in issue 59 this morning written by Kim Werker called: Ugly on Purpose, which also appears in the book Craftivism: The Art of Craft & Activism by Betsy Greer. In the article she discusses overcoming your fear of failure by making something ugly. She came up with the project “Mighty Ugly” when she was faced with the challenge of making a doll. She decided to alleviate her fear of screwing up by intentionally making the doll ugly. This was a profound experience, liberating her from the pressure she put on her self to make things perfect.
From here, her project flourished. She held workshops and invited people to make ugly dolls with her. They would discuss the ugly voices that we all to listen to saying: “You can’t do it” “It’s not worth trying” and “Nobody will care anyways…”
By listening to that voice and letting it convince you not to make something or not to speak out is doing yourself a disservice. “If there’s even a small chance our creations or conversations will make someone smile or raise someone’s consciousness or inspire reflection, that’s reason enough to create or converse.”