Random Precision: 3 Dimensional Line, Stitch, Structure, and Light
Session Two - June 9-15, 2019
A consistent feature of my practice is the inter-relatability of structure, the micro and macro. I’ve always been interested in the construction of component parts that fuse at a distance into a coherent form. Initially for this workshop I would like each student to make a 3-dimensional or relief-based construction utilizing fabric, thread, metal, paper, paint, collage, and wood.
Sourcing a personal selection of materials with a strong linear quality, participants will then develop an individual vocabulary of three-dimensional line. This, together with the constructed form, will provide the essential components of the workshop, which will focus on an exploration of stitch, depth, translucency, illusion, and structure.
When we build an artwork we build it physically ... but we also build it conceptually. Paul Klee used the simile of the tree as a means to explain how influences are processed through the body (trunk) of the artist into a creative canopy that mirrors the root system but is subtly changed through the individuality of each artist.
Every work exists within a halo of interpretations, ideas, histories, personalities, and meanings. This class is designed to be an immersive experience with a specific focus on a call and response between new ideas, existing lines of thought, and the participant’s individuality. The ideal outcome is a series of ideas that can be developed in your own studio.
At the heart of my practice is a commitment to the developmental. I regard myself as an independent explorer of visual territories.
A defining characteristic of my work has been a sustained commitment to the conceptual synthesis of contemporary and historical sources, in particular the exploration of three-dimensional line, structure, and pattern. I have persistently worked within contested areas of textile practice, embroidery, pattern, lace, and recently floral and primal imagery. I believe that the most innovative textiles emanate from a synthesis of historical and contemporary sources, based upon an assured understanding of both textile technique and history. The diversity of my contribution - exhibitions, commissions, teaching, curatorial, advocacy, writing, and architectural consultancy - exemplifies the breadth of my involvement in the promotion of contemporary textiles.
Recent work, inspired by the traditions of floral imagery, has utilized computerized machine embroidery, acrylic paint, photography, and collage. Exploring the illusionary space between two and three dimensions, these works are colourful, dramatic, rhythmic, and holographic in feel with intense detail that merges at a distance into strongly optical configurations.
- All participants should bring something that either describes their working methods or illustrates their chosen area of visual research. This could be a sketchbook, object, piece of work, or idea/inspiration image.
- Bring a sewing machine if it’s something you enjoy using.
- Wire Cutters mall size for 1-3 mill wire*
- Pliers for twisting wires into shapes*
- Craft knife*
- 15-20 lengths of machined or natural timber, not too thick, this will be used to create your structure, so can be as individual as you want. Could include branches, old bits from furniture, chair leg, old wood picture frame, etc.
- Threads, wool, tape, cords, string, anything you have that you"d like to stitch or draw with Could include old electrical wires, raffia, twine, etc.*
- Assorted needles*
- Acrylic Paints, brushes, crayons, pencils*
- Masking Tape*
- Paper scraps, any collage materials you might like to integrate.*
- Fabric pieces, scraps of your choice*