Jewish Community Center, Louisville, Kentucky
February 21-March 29, 2016
Opening reception, Sunday, Feb. 21, 2-4pm
This exhibition features recent naturally dyed ikat weavings by Wendy Weiss and accompanying photographs of ikat artisans at work in India and historic looms and factory buildings in Łodź, Poland by Jay Kreimer. The exhibition also highlights five silk weavings by artisans in a rural community in the Surendranagar District of Gujarat, where Weiss worked as a Fulbright Nehru senior research scholar from October 2014 to July 2015, training the weavers in digital design. Ikat is a method of dyeing warp and/or weft yarns, using binding of selected areas of the threads to resist dye the yarns in a patterned way, prior to placing them on the loom to weave. Ms. Weiss has been developing a method to create pattern in ikat using the traditional Gujarati system for preparing the warp yarn.
In August of 2014 she taught an ikat workshop at the Strzeminski Academy of Fine Arts Łodź, Poland which inspired a group of weavings about the “Litzmannstadt Getto,” in Łodź. One of these weavings will be exhibited at the 15th International Triennale of Textiles in Łodź in 2016.
Developing new designs using ProWeave software to generate the renderings.
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.