Textile Curator | Art
Contemporary textile art website showcasing images and exclusive interviews with leading textile artists.
Contemporary textiles, exclusive interviews, textile artists, textile art, tapestry, quilting, knitting, hand embroidery, machine embroidery, textile exhibitions, textile book reviews.
3
archive,category,category-art,category-3,ajax_fade,page_not_loaded,,select-theme-ver-3.1,wpb-js-composer js-comp-ver-4.11.2.1,vc_responsive

Sashiko Sewalong Project

Sashiko - Hishi seigaiha (Waves)    Sashiko - Juji Kikko (Crossed tortoiseshell) (2)  Sashiko - Kakinohanazashi (Persimmon Flower stitch)

Sashiko samplers clockwise from left: Hishi seigaiha (Waves) ; Juji Kikko (Crossed tortoiseshell) ; Kakinohanazashi (Persimmon Flower stitch)

 

Sashiko is the name of the gorgeous historical Japanese Quilting tradition worked with white thread on an indigo dyed fabric. Sara Cook from Brighton Fashion and Textile School has kindly shared with us her Sashiko Sewalong project that she ran on Instagram #sashikosampler. It was very popular with lots of people trying out this technique for the first time.

 

“Here are three examples of different patterns that I stitched for the sewalong. At the end you will see the sampler that I made. I love the way the patterns build up often not revealing their wonderful designs until the last few rows are worked.

 

Kakinohanazashi (Persimmon Flower stitch) The Persimmon Flower stitch is a very popular design and represents a stylised version of the flower. The fruit is sometimes called a Sharon fruit. This was the first pattern I learnt to stitch many years ago.

 

Juji Kikko (Crossed tortoiseshell) This design is a variation of the traditional tortoiseshell pattern that I have altered with diagonal crosses instead of vertical crosses. I like the hexagon shapes which remind me of grandmother’s flower garden design in English paper piecing.

 

Hishi seigaiha (Waves) I stitched this pattern while I was travelling around South Korea. It was the one of the last in the Sashiko sewalong project. This was a very formative time for me and somehow the pattern seemed to fit my journey.”

 

To find out more visit Sara’s website and blog at http://brightonfashionandtextileschool.com

 

Sashiko examples

Sandra De Berduccy

Sandra De Berduccy    DeBerduccy_8   DeBerduccy_4

Sandra weaving outdoors; Electric Awka – Traditional Andean Weave with Optical Fibre, Alpaca Fibre, LEDs and Sensors;

Jiwasanaka, Ancient double weave tecnique (kurti), Colored threads, leds, copper plates and macrocontroller

 

Sandra is our first featured artist from Bolivia, a country with a rich heritage in weaving. Sandra’s work respects traditional techniques while adding a fresh approach. ” I explore the relationship between nature, processes of traditional Andean textiles and various languages of the new media art,” she explains. She makes her devices and artifacts with a range of materials and processes including electronics, software code, micro controllers and reverse engineering. While her work is very varied weaving is always at the core. “All [my] practices merge with each other and give continuity to the ancient textile tradition of which I consider myself part.”

To find out more about Sandra visit www.sandradeberduccy.com or check out her Instagram and Facebook pages – details are on her gallery page sandra-deberduccy

 

Niki McDonald

Niki McDonald, sewing on my balcony     Niki McDonald, sewing at Neilson Park, Sydney  NIKI MCDONALD, tapestry, Urban Bouqet, wool, needlepoint tapestry, 100x120cm 2016

Niki sewing and Urban Bouqet, wool & tapestry needlepoint tapestry, 2016

 

There is no denying that sewing, beit embroidery or tapestry, is a slow process. The upside is you can take it anywhere as Sydneysider textile artist

Niki McDonald shows here. Fitting her work around teaching at high school means she makes the most of her free time and often sews outdoors.

Working on a number of pieces simultaneously, each of her collections has around five to six pieces which take four to five months to complete. We can’t wait to see what she does next.

To see more of Niki’s work visit tapestrygirl.com

 

Jana Rumberger

JanaRumberger, textiles Jana Rumberger, textiles JanaRumberger, textiles

 

 

Images clockwise from left:  Change in Average Income of the Top 1%, Productivity, and Average Overall Wages 1979-2013, Wood, acrylic, thread, 18 x 24 x 12 in. 2016 .

Marginal Tax Rate, Top 1% and Bottom 99% Income Growth 1913-2005; Piketty and Saez, Historical Marginal Tax Rates for Highest and Lowest Wage Earners 1910-2012; Wikipedia, Tax Revenues Do Not Correlate With Tax Rates 1950-2005; Heritage Foundation, Wood, thread 2016.

Detail from Change in Average Income of the Top 1%, Productivity, and Average Overall Wages 1979-2013, Wood, acrylic, thread, paper, 18 x 24 x 12 in. 2016.

 

 

Jana Rumberger is based in San Francisco and works from her home studio in Chinatown. Her work is a combination of trends and visual ideas around her. “I travel a lot for work, and end up spending a lot of time walking around on the street or in museums” Jana explains. “Much of my art involves finding ways to combine all of those references in one place.”

 

What is your background in textiles?

My mom taught me to sew when I was nine. I used to drive her crazy, because I was always wanted to combine sewing patterns or fabrics and she was very by-the-book. I started by making quilts, and then took a sewing class in my freshman year in high school. There was a period of time that I was torn between fashion and painting, and I ended up focusing on painting and drawing until graduate school (at San Francisco Art Institute (SFAI)), when I began working in sculpture and installation. The minute I started working three-dimensionally again, sewing came back into my practice.

 

How do you describe your work?

The miniature work I make reflects the scale of the space I live in, and the complexity of communities and ideas that are packed so closely together.

The thread pieces are very meditative to make. The process involves sewing into the wall of the miniature, the back of a chair, or around a wall or other part of the architecture I’m responding to. So, there is a lot of repetition, and that allows me to think about the data that I am depicting, and that starts to reveal and flesh out other ideas about the work or anything else that I am thinking about. 

In my thread pieces I take informational charts I find online and translate them to drawings in space, made with lines of thread.

When I started this work I was thinking about San Francisco and the high rents, how the global monetary system works, and what wealth is based on. That led to thinking about how numbers tell stories in the same way that photographs do, and how they can be distorted in the same ways. I’m also interested in the idea of work – how what we do with our hands is connected to concept of value.

We are living in heavily divisive times, and it’s easy to forget how easily data can be manipulated to serve a specific goal or perspective when we are using it to prove our own point. These sculptures and installations are tricky, because they can exist as straight abstract objects of colour and light. I am excited by the second read, the way that the abstraction works off of the interpretation of factual information embedded in each one, in that back and forth.

 

Jana Rumberger’s first solo exhibition Metafictions, is at State gallery, in San Francisco.

 

www.statespacesf.com/metafictions-jana-rumberger

www.janarumberger.com 

Calling all Tapestry Artists

tapestry by Sarah Perret Le Colosse Transi  32.THURNER Lisa_Sonnenwarmen Schwermut   20. KOLINOVA Petra_The Week of a Housewife

Tapestries featured in ARTAPESTRY4, from left: Sarah Perret, ‘Le Colosse Transi’ ; Lisa Thurner, ‘Warmth of Sorrow’; Petra Kolinova, ‘The Week of a Housewife’

 

The ETF (European Tapestry Forum) was set up by tapestry artists to ‘encourage the continuing development of the art of tapestry weaving.’ They are currently calling for entries for it’s fifth European Tapestry Triennial exhibition – ARTAPESTRY5 which is open to all professional tapestry artists who live in Europe. The exhibition opens on 13th January 2018 in Denmark and finishes a year later in Latvia – offering fantastic exposure to any featured artist. The deadline is 31st of March 2017 and you can download the application form at  www.tapestry.dk

 

A glimpse behind the scenes at Jilly Edwards’ studio

8. Weaving in progress 2016_2765 9. Between & beyond the walls. Cotton warp. Wool, Cotton & linen weft. 150 x 30cm_150 x 20cm_150 x 30cm. 2015_16 11. Weaving in progress 2016_3856

Jilly’s studio and tapestries Between and Beyond the Walls, Cotton warp, wool, cotton and linen weft, 2015.

 

When it comes to tapestry weaving there are various types of loom but Jilly Edwards prefers a scaffolding loom due to the flexibility in height and tensioning. While she has worked in shared studios in the past she now has her own studio at home.

“Having your own space, where ever that is, that you can walk out of at the end of a day and leave to return to the next day (just as you left it) is magical”

 

 

 

Carolyn Halliday

A.Artist studio visit 2 My Father's Religion at ArtPrize, me installing D. Artist installing site specifici work

 

American fibre artist Carolyn Halliday is our featured artist this week. When asked why she chose textiles as a medium she replied:

” The inherent sense of texture, the handcrafted nature, and the rich cultural traditions of textiles are deeply appealing to me.  The dismissive concept of “women’s work” serves as a reason to emphasise and elevate the domesticity of textiles and knitting.” 

Carolyn often uses the same colour palette which gives her collected works cohesion yet her variation of scale and subject matter allows her art to constantly evolve and be relevant.

J. Bruce Wilcox

finished-skull1

OLYMPUS DIGITAL CAMERA

jbwilcox

j-bruce-wilcox-dance-floor

J. Bruce Wilcox: Sacred Crossing 5; Sacred Crossing 3; Untitled and Dance Floor

 

 

J. Bruce Wilcox defines his work as: Chaos AND Order. Randomness AND Structure. He’s been interested in textiles since he learned to sew when he was eight, but a watershed moment was in the 1970s when he was dressing a window with quilt tops for a department store, ‘[I] stepped outside and realised I could make much bigger art,’ he recalls. He has been creating art ever since. Although the work here are quilts it’s art that is his main focus

“I’m an artist making art- not a quilter making quilts”

His latest exhibition is at The North Gallery @ SPARK, in Denver Colorado from January 12th – February 5th.

For more information visit www.jbrucewilcox.com

 

Latest work by Brita Been

6-brita-been-heritage  Brita Been Woven Rose-embroidery  8-work-in-progress-just-now

Three tapestries by Brita Been. clockwise from left: Heritage, 2016, 250 x 275 cms; Woven Embroidery, completed in 2015, 430 x 190 cm; Work in Progress

 

 

We recently caught up with Norwegian tapestry artist Brita Been to find out about her latest work which is a series called Heritage. Brita took inspiration from Telemark in Norway as she explains.

 

 

“Telemark has strong, rich traditions in several areas within its´ folk art. This series of tapestries takes inspiration from embroidered stockings and shirts, and is known as Rose Embroidery. The stockings from the female folk costume ”Beltestakken”, are extravagantly decorated with embroidery on the outside of the lower leg, with fantastic colour combinationes on black wool felt, and on white linen on the front of shirts.   I wanted to show this beautiful Rose Embroidery by weaving my own interpretation in large wall tapestries. The series is a tribute to womens work and their creative abundance represented in folk art.”

 

 

The tapestry shown on the loom is being completed any day now and will be exhibited from 14th January until 26th February at Skien kunstforening, Ibsenhuset, Skien, Norway.

For more information about Brita, read our interview with her www.textilecurator.com and visit www.britabeen.no 

 

 

Tapestry exhibition

I’ll always be an advocate for tapestry weaving, especially as I did a 3 year degree in it. Unfortunately it’s not always easy to come across which is why the Here and Now exhibition at the National Centre for Craft & Design is worth visiting. Featuring 20 artists from around the world, including Tonje Hoydahl Sorli and Kristin Saerterdal, whom we interviewed for this site a few months ago,  it is on until Jan 15th.

 

http://www.nationalcraftanddesign.org.uk/whatson/#here-and-now