Yasumasa Morimura's "Look, This is in Fashion!"
Dulcimer-playing automaton from the court of Marie Antoinette
Air over land prototype in progress by Mackenzie Frère
Photograph from the Our Face Project by Ken Kitano
Mask by Bertjan Pot
See more on enmesh.tumblr.com.
KNITTING NATION PHASE 7: DARKNESS DESCENDS, 2011 from Liz Collins on Vimeo.
Knitting Nation is a performance and site-specific installation project. It reconfigures textile fabrication and apparel manufacturing in relation to the human labor behind it, with performance and collectivity as mediating forces. The project functions as a commentary on how humans interact with machines, global manufacturing, trade and labor, brand iconography, and fashion.
See more on Liz Collins’ website.
A few months ago I started enmesh. Here are some of the things I’ve been posting there…
Katazome by master dyer Kunio Isa
Blanket: earth work in progress by Mackenzie Frère
Quentin Crisp
String Game by Katy Horan
Carpet detail by Oaxacan weaver Roman Guiterrez
Laying out fleece for felt work in progress by Mackenzie Frère
Hour (for Penelope) is a 24-hour durational performance by artist Rachel Gomme in the Libeskind Building at London Metropolitan University, Holloway Road, London N7. The performance will take place on the 21/22 of October from 6:00 pm to 6:00 pm.
The building is open from 8:00 am to 6:00 pm. Outside opening hours the performance can be viewed from Holloway Road.
Time passing, time returning, suspended time. Through a continual process of knitting and unravelling, this 24-hour durational performance examines time as line and cycle, moment and infinity, chronology and memory.
The event is FREE and is part of the One More Time symposium and exhibition.
Anne Lene Løvhaug | Little Sister Happy
An exhibition of Norweigan craft at the Triangle Gallery (Upper Gallery) worth checking out before October 12…
Curated by Edith Lundebrekke of the Norwegian Association for Arts and Crafts in Oslo, Norway, this critical exhibition of contemporary Norwegian applied arts is based on the notion of “construction”: it refers to the act of construction and to the importance that the process of construction has in creating and embodying ideas. …
The exhibition features a broad spectrum of craft/art objects from formal to conceptual expressions, some with strong traditional roots and others that are more experimental, but all with a basis/roots in the centuries of Scandinavian tradition in applied arts. The exhibition addresses several topics, such as “Materials as both object and surface”, “Ornament as repetition and addition”, and “Insoluble fusion between form and idea” in the expressive body of work by 17 renowned contemporary Norwegian artists, designers and artisans.
Marit Helene Akslen | White Dress
Anne Mondro | Detroit's Shadow, 750 x 500 x 500 mm, thin steel and copper wire crochet | image: Patrick Young
134 artists from 20 countries unleash their passion for lace in this spectacular exhibition of winning entries and finalists in the Powerhouse Museum International Lace Award.
Shane Waltner | Another World Wide Web, 1500 mm (approx), Shetland lace knitting using shirring elastic | photo: Marinco Kojdanovski
Lace offers the mystery of concealment and the subtle interplay of space, light and shadows. Its layering can enhance the human body and create alluring effects in interior design and architecture. Though lace is usually associated with textiles, curator Lindie Ward broadened the definition of lace to include any ‘openwork structure whose pattern of spaces is as important as the solid areas’.
The exhibition ranges from bold large-scale installations and sculptures to intricate textiles and jewellery. Materials include gold and silver wire, linen and silk as well as mulberry paper, tapa cloth, horse hair, titanium and optical fibre.
Kim Lieberman | Tribe, 300 x 150 x 80 cm, bronze figures with bobbin lace
See and read more on the museum’s website.
Love Lace runs until April 2012 at the Powerhouse Museum in Sydney, Australia.
Links to artists in this post: Anne Mondro, Shane Waltner + Kim Lieberman
On Saturday Kristofer and I drove out to my parent’s land near Delia, Alberta. It was a welcome escape from the city and an opportunity for me to set up a maquette for a series of large textile sculptures I have planned for the site.
Air over land will be a monumental series of sculptures in linen and wool. Open to the elements the work will be changed and eventually consumed by them. The landscape of the prairies is both beautiful and isolating.
My love for the prairie landscape drives this work. I will post more when it begins in earnest later this fall, but for now will share these oddly evocative images of a few filmy cotton ghosts floating on the air.
I must give thanks to artist Elis Vermeulen for inspiring me to get going on a project I have had in mind for some time now. Elis is a felt artist who has followed her own love of the land creating large felt works in nature she calls Global Burrows in different parts of the world. By example, she has shown me that if you want to make something you should go ahead and see what happens. (Thank you my friend!)
More images of this work will be placed on my website soon.
The Perfect | machine knitted wool, dimensions variable
“‘It’s not perfect, but who cares?’ Well I do. I enjoy imperfection in you and yours but not in me and mine. I am very attracted to the imperfections, failings, and roughness of the material world. I enjoy the evidence of human hands, the inevitable wear and repair of objects. I love the obviously hand-made. But I suffer from being a perfectionist.”
THE PERFECT: ALEX | machine knitted wool and acrylic yarn 580 x 920 mm
“This body of work deals with the constant drive for perfection. It is made using technology that was developed to achieve perfection. Technology developed for mass production to make garment multiples that are exactly the same as each other: garments that do not require any hand finishing, garments whose manufacture does not produce any waste, garments whose production does not require the human touch. Garments that are, in fact, perfect.
I have produced my knitted multiples through the use of a Shima Seiki WholeGarment® machine (a computerised, automated, industrial V-bed flat machine, which is capable of knitting a three-dimensional seamless garment). These multiples take the form of life size, three-dimensional human bodies. I have combined them in a variety of different ways to create large-scale knitted sculptures and installations.
Images from Suzen Green’s MFA thesis exhibition Some Good That Did.
The closing reception is TODAY Thursday, April 14 from 5 to 8pm. The MFA Gallery (VA-102) is located at 1395 Rene Levesque Blvd West, Montreal in the Concordia University Fine Arts Building.
Suzen Green is Not a Lazy Suzen