Two new pieces will be shown at the Illingworth Kerr Gallery in an exhibition curated by Diana Sherlock…
In the making, a group exhibition of Alberta College of Art + Design alumni, investigates conceptual intersections between contemporary craft and emerging digital media. The works span a diverse range of disciplines and reflect the ongoing influence of technology on ways of making and ways of thinking about the contemporary context.
This travelling exhibition is the first of a series of Alberta College of Art + Design curated touring alumni exhibitions that will animate critical conversations about contemporary art, craft and design, and incite creative partnerships regionally, nationally and internationally.
via ACAD | In the Making.
The exhibition runs from January 16 to February 22, 2014 with an opening reception January 16 from 5 to 8 pm, There will be an informal curator’s talk January 9 at 630 pm.
This exhibition is a groundbreaking inquiry into Japanese influences in the early years of the Cape Dorset print studio, the oldest and most successful printmaking enterprise in Canada’s Far North. The exhibition also focuses particular attention on the late James Houston, the Canadian artist and government employee who in 1958 forged this remarkable link between printmakers in Japan and the Canadian Arctic.
Read more about the exhibition HERE. There will also be an informal talk by Ronald Hawker During the opening this Thursday evening. Not to be missed!
If you are free the morning of November 6 you are welcome to an artist talk by Yvonne Mullock at ACAD.
A few weeks ago I finished a trio of panels in my Noise series. Here are a few images as they came off the loom…
After weaving, the panels were compressed using an old laundry mangle. Essentially, this process takes the cloth from a more or less organized web of threads to a smoother, more planar cloth. When I am weaving with linen, mangling gives an incredible springy quality to the cloth that helps it to hang flat and resist wrinkling.
I am now working on a new series of weaving, thinking about the intersection of text and textile (more on that as the work develops). I am using sumi to mark the threads in a specific pattern that will become enmeshed in alternating blocks of white linen and pale silver hemp. The black marks in alternating weft threads will increase in a differential frequency. As always I am interested in challenging the perceptual process, particularly where one’s instinct to apprehend repetition and pattern meets complexity. I am using a new structure for this series called samite. The medieval structure favours the weft (meaning the weft is more dominant on the surface of the cloth) and features a three-thread twill tie down.
The extremely fine warp thread I am using for this work has given me a great deal of trouble, with lots of snarling and twisting as it was wound onto the loom. After some coaxing and a few late nights wondering if it will be worth all this frustration and bother, Kris (best husband AND loom crank specialist) and I managed to wrangle the threads into order.
I have learned a lot from this warp and now have new strategies for warping with fine threads thanks to an article written by Lillian Whipple for Weavezine (Thank you Lillian!) These pieces, along with the ones I’ve just finished are to be part of my exhibition Frequency at GalleryGallery in Kyoto Japan. Although I prefer to think this added pressure isn’t causing me any trouble, I’d be lying if I did not admit that it lent a certain urgency to the tangle tango.
I am now at the threading stage. There remains one section at the back that threatens to snarl a few metres into weaving, but i’ve got my fingers crossed.
After a little more threading my eyes may follow suit.
I was recently interviewed for the World of Threads Artist Interview Series. READ MORE…
Yesterday I began weaving the first three pieces for Frequency, an exhibition scheduled for February 2014 at GalleryGallery in Kyoto, Japan.
The warp is composed of alternating dark and light silk threads and the weft a series of ten different shades of indigo, sumi and plant dyes on hemp and linen.
I am using a block structure similar to Noise 1204, with a more complex colour and treadling sequence. I will post more images as the work progresses.
Two recent works Noise 1207 and 1208 will be included in + One, a group exhibition at Jarvis Hall Fine Art July 18 to August 30, 2013. Each of the gallery’s artists was asked to invite another artist to show a work alongside their own. I was invited to participate in the exhibition by artist Dan Whiting, who creates beautiful, layered drawings.
Join me for the opening reception July 18 from 6 to 10 pm at Jarvis Hall Fine Art at 617 11 avenue SW, lower level. Here’s a little more about the show from gallery owner Jarvis Hall…
This year, I asked each of the artists at JHFA to invite a guest artist (+ One) of their choice to take part in our summer show. The result of this of type of curation has resulted in our largest exhibition to date with an estimated 30 works on view. I have had no input into the list of invited artists, believing that the strength of the exhibition would be served by the varied mix of style, approach and execution. Every artist at JHFA has their own reasons for whom they added to the guest list.I often ask people if they have “seen any good art lately?”, for the reason that I want to be aware of what is happening outside of my gallery walls. This exhibition is a real surprise, in the sense that it answers that very question.
from our friends at Papergirl Calgary… (aka my sister Sunshine who was recently interviewed on the Market Collective website)
Papergirl has proudly partnered with The EPCOR CENTRE for the Performing Artsthis year.
Papergirl would like to thank McARA for their support in kind this year.
My second day in the archives at the Textile Museum of Canada was spent with a wool blanket and another catalogne, this one cut in two pieces. Having used an entire day on one piece, I tried to speed things up a little, mapping mostly areas of wear and damage that made each textile unique. The blanket was pretty amazing, made up of more than a hundred multicoloured stripes.
The catalogne was also very beautiful. A regular thin stripe of purple brought together bands of rag and yarn from old garments. Shirts, trousers, little girls dresses laid in one after the other.
I did not anticipate being so overwhelmed intellectually (and emotionally) by these textiles.
So much daily life is embedded in these threads it’s hard to know where to begin the next phase of this project. I anticipate making a small series first, focusing on wear and tear, culminating in large 1:1 scale drawings of each textile.
Meanwhile the other six pieces I thought I might have a chance to look at will have to wait until my next visit.
I am in Toronto this week at the Textile Museum of Canada. I spent the day with this incredible, early-twentieth century piece of weaving from Quebec. I took notes on the spacing and order of unique colours in the first 120 cm and discovered a complex stripe pattern, likely made up as the weaver went along.
Although not unique to this catalogne, the use of printed and striped rag strips throughout is used to particularly beautiful effect.
One of my favorite sections appeared late in the day as I unrolled the last two metres of this almost five metre long catalogne. The pattern is created by a printed motif (possibly a stripe?) reconfigured by stripping then reweaving the cotton rag.
I spent a good portion of the day making sketches of the various types of rag used along with their specific texture. If I decide to make larger drawings, these sketches will hopefully provide enough information to render a fairly true portrait of the textile.
A magnifying tool allowed me to get very close in the process!
In places the printed cotton rag strips uncannily resembled the watery effects in my recent Noise series. One of the reasons that I have chosen to look at these particular catalognes are these apparently random patterns that are constructed from rag strips that were printed with another, presumably more ordered pattern.
There is something fascinating about this translation that I hope to explore not only in the drawings I will make later this summer, but also in a new series of printed wefts to be used in a new series of weavings. I will post more tomorrow. In the meantime, check out these beautiful exhibitions now on at the Textile Museum of Canada.
The recent flooding in Calgary has devastated my favorite city. If you haven’t already visit YYC Helps to learn how you can volunteer, donate and otherwise connect with people in your community.
We can use all the help we can get!
For more information on the flood relief effort check out #yychelps on twitter.