September 26th, 2018 · 3 Comments
I just love this first piece by Meg Lipke of Brooklyn which is somehow so multi-faceted yet totally coherent as a whole. These vibrant ‘soft’ paintings are made with muslin, acrylic, ink, fabric dye, beeswax and stuffed with polyfil. Lipke has a very interesting back story: she is a third-generation textile artist. You can read more about that below.
“Lipke’s use of textiles is indubitably connected to her personal history. Her grandfather owned a textile factory in Manchester, England, and Lipke’s grandmother, Patricia Sinclair Hall, was an artist who weaved thread using a loom she hand-fashioned from plumbing pipes. She also painted fabrics and used batik, crafts she passed to Lipke’s mother, Catherine Hall, and which Lipke incorporates into her own painting today. Lipke’s mother brought the handmade loom from England to Brooklyn, and Lipke has used its warp and weft to add lines and layers of color to her paintings. In her introductory essay to the catalog accompanying this exhibit, Julia Kunin writes that, as a third-generation fiber artist, Lipke brings together ‘the physical, the personal and the historical.’ ” – Freight + Volume
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Kimberly Corday has a new body of textile work called Pelage.
“My process is Frankensteinian. Borrowing aspects of weaving, embroidery, and collage, I make textured objects that conjure up an amalgam of natural phenomena like threadbare pelts, nests, or overgrown brush.
In this new body of work I dye, distress, and manipulate an assortment of textiles in a ritual that yields wall hangings both romantic and primitive. Much like the preserved textiles of a bygone era, this series spotlights organic, sometimes misshapen forms as well as the relationship between beauty and decay.”
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Kimberly Corday is a young artist living in North Hollywood, California. Some of her luxurious textiles and more subtle paintings from her Portal Series are available on Buy Some Damn Art. Below I ask Corday about her practice, how and why she makes what she does and what she’s up to next. Check out Kimberly’s show here.
Corday’s Portal Series
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You graduated from RISD in 2014. What kind of work did you make while in school and what have you been working on since?
Much of my education at RISD was centered around abstract figurative painting. I was looking at a lot of Cecily Brown and Abstract Expressionists but eventually hit a wall and wanted to dip my toes in something new. Senior year, my professor Laurel Sparks encouraged me to dabble in unconventional materials. What transpired was a completely invented process incorporating hand-dyed string and found materials.
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“My practice is rooted in the notion of an ideal natural world – a concept that marries
the spectacle of nature and the spirit of 18th century Romantic landscape painting.
Through a Frankensteinian process that borrows aspects of painting, relief sculpture,
and embroidery, I create textured objects that conjure up an amalgam of natural phenomena
like threadbare pelts, plumage, and patterns found in the wild.” – Kimberly Corday
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Pinkie (above), Beryl (below) and other recent works of yours are made with hand-dyed wool on canvas. How did you come to combine these materials and why?
After graduating, I stumbled across a sheepskin duster at IKEA (of all places) and was interested to take it out of context. I then dyed, distressed, and manipulated the wool in order to transform it into a lush, abstract wall-hanging reminiscent of say a threadbare pelt or strange, ancient relic. Thus spawn my practice as a fiber artist.
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What are you working on now? Are you experimenting with new materials or process?
I’m working on a series of wall hangings prompted by both my rococo aesthetic and interest in a Japanese textile tradition called “Boro”- meaning “ragged” or “tattered”. Stay tuned!
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In your Portal Series the predominant form is a circle. What do they represent to you?
It’s funny, I was noticing a lot of circles in my sketchbook around that time. The shape’s recurrence in my work is unconscious, but I’ve learned to embrace it as a representation of my curiosity in both literal and figurative portals. They’re openings meant to summon associations, sensations and emotions.
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Could you explain what a monoprint is?
Monoprinting is the process wherein a painting or drawing is made on glass or Plexi and rubbed onto paper. The image can only be transferred once- hence the name. It’s ephemeral, unlike most printmaking methods.
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Sean Riley is an artist based in Providence, Rhode Island. His series Denim is a meticulous deconstruction of blue jeans having belonged to the artist’s father.
“I use material to give form to the formless and to speak truth to that which often goes unspoken. Following material and research, I immerse myself into content and work across several media in search of transformation. In the transformation of material is the art. To imbue material with properties it does not normally posses is to heighten sensuality, to disrupt expectation, and to cultivate curiosity.
Since 2008 I have been working on a memorial project using the clothing I inherited from my father. His clothing as a material is very common and familiar and so has allowed me to use a very personal experience to reflect on collective experiences of loss, memory and time. What measures a life? How do we remember and honor those who came before us?”
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These works by the young Iranian-British artist known as Kour Pour look like Persian rugs but are actually large-scale paintings on panel. In another visual trick of the artist, the paintings appear at first glance to be in the style of traditional Persian rugs but actually incorporate foreign motifs and figures. Kour Pour is based in Los Angeles.
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via Artnau
March 11th, 2015 · 1 Comment
Embroidered “drawings” by Kristine Fornes of Oslo.
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