By Deborah Winiarski
During the past century, artists working with fiber have pushed the boundaries of what can be considered a textile, as well as how textiles are represented within the context of contemporary painting and sculpture – challenging long held distinctions between textile, craft, and fine art. The artists whose work is shown here continue this new tradition, combining wax and encaustic with a variety of fabric, fiber, and mixed media materials to create statements uniquely their own.
Sandi Miot, Red Biome, 2016; encaustic,
fiber, yarn, felt, fabric, paper, lace, dried plants, seeds, pods,
pastels; 15 x 18 x 4 inches
“Biome is a dialogue, influenced by our vanishing coral
reefs, a visual investigation into texture and color. It is a testimony to the
amazing, astounding variety of organisms that live on this planet.”
_______________________________________________
Lorraine Glessner, Soon, Soon, We Will Dance on the
Moon 1, 2014; encaustic, collage, pyrography on screen printed silk on wood; 24
x 24 inches
“Utilizing processes such as burning, rusting,
decomposition, burying, or weather exposure, layers of fabric are collaged with
encaustic, images and found materials. Through pattern and collaged images,
narratives interact with and contextualize the markings as well as speak to our
wants, needs, temptations and desires as a culture.”
_______________________________________________
graphite; 54 x 4 x 2.5 inches
“Selected Offerings uses textiles to create as a single bound unit of cotton batting repeated again and again to develop a pod-like strand formation that is suspended and hangs freely to be observed from all sides.”
_______________________________________________
Lisa Zukowski
Lisa Zukowski, Bundle Series, 2016; encaustic
monoprint on fabric, burlap, old clothes, embroidery,
string; 6 x 3 x 2 inches
"The works in the Bundle Series are vessels,
reliquaries of a sort, that symbolically and sometimes literally hold and
protect that to which I have attached deep meaning and have difficulty
discarding. They are filled with shredded ephemera and are made up of bits of
old clothes, coffee bags, encaustic monotypes, and fabrics."
31 x 36 x 4 inches
“Color, form and line expand beyond the painting surface in
my recent mixed-media paintings. Fabric strips accrue to create raised and
textured surfaces that weave, twist, mingle, and intertwine creating visual
fugues that literally break out of the picture plane. The torn and folded
strips provide form, dimension, and color; their edges, line.”
_______________________________________________
26 x 13 x 13 inches
“My work explores themes of structure and connection.
Nature’s cycles of growth and decay are referenced through the deconstruction
of manufactured objects used to build abstract forms. In this way, direct
engagement with materials begins the dialogue that shapes form and surface.”
_______________________________________________
Dawna Bemis, Kaleidoscope II, 2015; encaustic
monotypes, newsprint, machine and hand stitching on panel;
18 x 18 inches. Photo: Jay York
“In my most recent series, I draw upon quilts as a metaphor
for the loss of generational knowledge transfer. With this work I explore
issues of identity, gender, and family history. As I develop these pieces, I
connect with the many hands that have worked these geometric patterns over
time.”
_______________________________________________
Cat Crotchett
Cat Crotchett, Ghosting 2, 2017, encaustic and
mixed media on panel, 12.5 x 12.5 inches
Photo: Aoi Fukuyama
"I've always been interested in pattern and fragments
of information and how our brains processe parts of things when placed next to
one another, without physically seeing the greater whole. In this piece I have
focused on the interrelationships between patterns and the new identities that
are formed when patterns are layered and juxtaposed."
No comments:
Post a Comment