Excellence In Fibers is on view until March 19, 2017 at New Bedford Art Museum/ArtWorks! Four weavings are on exhibit. Fiber Art Now, a quarterly print and digital magazine, developed the exhibition.
will be part of the SHIFTING LANDSCAPES: 3rd International SDA Member Juried Exhibition.
Opening Friday February 24, 2017, 5:00–7:00 pm, on view through May 20, 2017.
at form & concept, 435 S. Guadalupe St., Santa Fe, NM 87501.
Original image posted in Indian Printed Textiles, a catalogue of the collection by Ruth Barnes. The entire collection is available to view courtesy of Eastern Art on-line at the Ashmolean Museum at Oxford.
Motif developed from a textile fragment with rosettes, arches, stylized trees or flowers, and leaves.
Date: 2nd half of the 13th century – 1st half of the 14th century
Material and technique: cotton, block-printed with resist, and dyed blue; with remains of stitching in flax
Original fragment size: 11 1/32” x 7 5/8”
Accession number: EA1990.161
Developing new designs using ProWeave software to generate the renderings.
Ikat is a traditional form of yarn preparation for weaving that is practiced in many Asian and Central Asian countries as well as Central and South America and North Africa. Artisans bind selected sections of warp or weft threads before dyeing, in order to form patterns in the cloth as it is woven on the loom. “Warp ikat” describes the process of binding the warp in a patterned way to prevent selected areas from receiving dye prior to placing the warp on the loom to weave. Similarly “weft ikat” is woven from resist-bound dyed weft threads, and “double ikat” is woven from both warp and weft-bound dyed threads. In 2009, a Fulbright-Nehru senior research award enabled me to document warp resist binding in the village of Somasar, in the Surendranagar region of Gujarat, India. I adapted what I learned from Master Weaver Vaghela G. Vitthalbhai, for use in a western studio where imagery and pattern development ideas differ from traditional Indian patola (double ikat designs specific to Patan, Gujarat). The workshop I taught in Lodz, Poland was based on this research. We used plant based natural dye on cotton warp to develop our color.
A group of international students convened at the Strzemiński Academy of Fine Arts in Łódź, Poland to participate in “Resist!,” a two week intensive course on designing and dyeing cotton warps with red and yellow plant based dyes. Participants from Poland joined with other textile artists from England, Iceland, Ireland, and Spain. The academy is home to an extensive and well respected textile art, design and fashion program. Students wove on looms from historic mills that populated the city since the 19th century.
Exhibition by Jay Kreimer and Wendy Weiss at the Tugboat Gallery in Lincoln, NE. Sept. 7-29, 2012.
The Everyday Interest of Young People is about mixing, and watching, and at least three species of containment. Feel like the walls are closing in? The two of us are combining a number of our controlled obsessions, and crossbreeding in pursuit of a fertile hybrid. Each room is more about altering the space, and the weight of the space, than it is about the objects placed in the space. Some of it opens and some of it closes. The Treescape is drawn with reused black polyester pants. It extends onto all six surfaces of the larger room at the Tugboat Gallery, surrounding the viewer
. Weiss draws on the textures and linear elements of the places where she walks. The environment is immersive, expansive and playful yet contained.
Core is a 100 foot woven tube suspended by six columns. The work fills the room. The columns anchor and form a body for the very interior presence of the Core weaving. The weaving suggests the workings of the body: intestinal, umbilical, essential. It is exaggerated and deeply human. The feeling of gravity and concentration plays in contrast to the encompassing space of the tree scape. The viewer walks through the Treescape and gazes into the Core.
The Hard-To-See Theater plays with contraction and expansion, exterior space and interior space. The radically dropped and angled ceiling covers a red wooden stairway to a platform. Three heads rest on columns in an almost classical style, one nearly normal except for a feral smile, another red with devil’s horns, and a third wearing a crown. Stooping to climb the stairs, the viewer discovers a viewing area that opens onto a small theater with thirty-two seats and three people in the audience. The film seems to be concerned with uncertainty and biology—The Everyday Interests of Young People. The three members of the audience, who turn periodically toward the viewer, seem to be enjoying the show.
The materials in Kreimer’s Hard-To-See Theater are recycled and precycled. The steps and platform use lumber salvaged from a neighbor’s deck. The video and heads suggest a remembered walk through psychic space. The false ceiling is precycled (we thought we coined it!) and will be reused to insulate and finish an attic ceiling.
Weiss and Kreimer’s The Everyday Interests of Young People plays with human spaces, interior and exterior, and the passage between the open and the enclosed. The contrasts and continuities in the three rooms charge each other and invoke qualities of the many spaces humans inhabit.