Preamble
This blogspot contains posts of artworks that have featured in my curated international exhibition - ArtCloth: Engaging New Visions. For your convenience I have listed these posts below.
ArtCloth: Engaging New Visions (Marie-Therese Wisniowski - Curator's Talk)
Sequestration of CO2 (Engaging New Visions) M-T. Wisniowski
Sacred Planet I (Engaging New Visions) J. Dunnewold
Under Pressure (Engaging New Visions) L.A. Beehler
lo Rising II & Giza (Engaging New Visions) R. Benson
Etruscan Relic (Engaging New Vision) J. Raffer Beck
Catch The Light 1 & 2 (Engaging New Visions) J. Schulze
Emerge (Engaging New Visions) J. Truckenbrod
Breathe Deeply (Engaging New Visions) C. Benn
Die Gedanken Sind Frei 3 & 4 (Engaging New Visions) C. Helmer
Autumn Visions I & II (Engaging New Visions) J. Petruskeviciene
Razing/Raising Walls, Warsaw (Engaging New Visions) N. Starszakowna
Quite Alone Oasis… (Engaging New Visions) J. Urbiene
Nothing Is The Same I & II (Engaging New Visions) E. van Baarle
Discharge Thundercloud (Engaging New Visions) K. Kagajo
Shroud Of Ancient Echoes I & II (Engaging New Visions) S. Fell-McLean
Cane Toad Narrative (Engaging New Visions) H. Lancaster
Visionary and Eclipse (Engaging New Vision) J. Ryder
Untitled ArtWorks (Engaging New Vision) Tjariya (Nungalka) Stanley and Tjunkaya Tapaya
Treescape (Engaging New Vision) A. Trevillian
Introduction
We shall return weekly to the European contribution to ArtCloth: Engaging New Visions.
The catalog of the exhibition is far more detailed in terms of opening addresses and artist’s biographies, curriculum vitae and statements etc. and moreover, is a holistic record of the exhibition itself.
Synopsis of Artwork: Black Birds I and II
I like to use discarded items, waste material no longer considered useful. The ambiguity of external references combine with personal experience, places visited, stories of my grandmother lead me in new directions. Recycled materials, old and forgotten textiles and waste have a history’. These I break down, tear, and cut, until they are re-assembled to create something more meaningful. Fragments and layers mark the passing of time, the rituals of making (cutting paper, gathering materials, machining, sewing) acting as part of the narrative of the work.
I am interested in the open landscape, the shadows of marks made by man in the earth, the reflections in water and flooded fields, gardens and seasons changing. I grew up in the wind-swept fenland water and woods of Norfolk. Crows, ravens, magpies the 'black birds' familiar to that landscape picking the wheat and foraging in the farmlands are the subject of this piece. The land is rich because it often floods. The impressive physical changes to the landscape raises issues about our fragile relationship with the local and national environment.
My training is in Fine Art and I work between two disciplines, painting and mixed media textiles, I layer text, images and cloth using glue and paste methods. I scrape away to reveal under layers. Applique and quilting is often used to add colour or texture. The stitched mark becomes a line ‘of drawing, dye becomes my paint. The use of stitch is imperative to how the work holds together the ambiguous found surfaces including old sheeting buried and stained by the earth and paper waste used in this piece. I have been drawn to the unconscious mark making of the stitches and layers not normally seen.
Techniques
Print, paint, dye and stitch. Layering with paste.
Media: Cold water dyes, acrylics, conservation paper, assorted muslin and cotton fabrics, wax rubbings, ink.
Cloth Type: Found fabrics and papers.
Size: 60 cm (width) x 300 cm (length) for each artwork.
(a) Black Birds I and II (Cas Holmes) second dyptich artwork from left (see earlier and future posts for other artworks ).
Fairfield City Museum and Art Gallery, NSW, Australia.
Photograph courtesy Cedric Boudjema, Director, Fairfield City Museum and Art Gallery.
(b) Black Birds I and II (Cas Holmes) dyptich artwork from left (see earlier and future posts for other artworks).
Orange Regional Art Gallery, NSW, Australia.
Photograph courtesy Marie-Therese Wisniowski.
(c) Black Birds I and II (Cas Holmes) dyptich artwork.
Redcliffe City Art Gallery, Queensland, Australia.
Photograph courtesy Karen Tyler, Director. Photography by Al Sim.
(d) Black Birds I and II (Cas Holmes) dyptich artwork on the right (see future post for Els van Baarle's dyptich on the left).
Wangaratta Art Gallery, Victoria, Australia.
Photograph courtesy Marie-Therese Wisniowski.
(e) Black Birds I and II (Cas Holmes) - full view.
(f) Black Birds I and II (Cas Holmes) - detailed view.
This blogspot contains posts of artworks that have featured in my curated international exhibition - ArtCloth: Engaging New Visions. For your convenience I have listed these posts below.
ArtCloth: Engaging New Visions (Marie-Therese Wisniowski - Curator's Talk)
Sequestration of CO2 (Engaging New Visions) M-T. Wisniowski
Sacred Planet I (Engaging New Visions) J. Dunnewold
Under Pressure (Engaging New Visions) L.A. Beehler
lo Rising II & Giza (Engaging New Visions) R. Benson
Etruscan Relic (Engaging New Vision) J. Raffer Beck
Catch The Light 1 & 2 (Engaging New Visions) J. Schulze
Emerge (Engaging New Visions) J. Truckenbrod
Breathe Deeply (Engaging New Visions) C. Benn
Die Gedanken Sind Frei 3 & 4 (Engaging New Visions) C. Helmer
Autumn Visions I & II (Engaging New Visions) J. Petruskeviciene
Razing/Raising Walls, Warsaw (Engaging New Visions) N. Starszakowna
Quite Alone Oasis… (Engaging New Visions) J. Urbiene
Nothing Is The Same I & II (Engaging New Visions) E. van Baarle
Discharge Thundercloud (Engaging New Visions) K. Kagajo
Shroud Of Ancient Echoes I & II (Engaging New Visions) S. Fell-McLean
Cane Toad Narrative (Engaging New Visions) H. Lancaster
Visionary and Eclipse (Engaging New Vision) J. Ryder
Untitled ArtWorks (Engaging New Vision) Tjariya (Nungalka) Stanley and Tjunkaya Tapaya
Treescape (Engaging New Vision) A. Trevillian
Introduction
We shall return weekly to the European contribution to ArtCloth: Engaging New Visions.
The catalog of the exhibition is far more detailed in terms of opening addresses and artist’s biographies, curriculum vitae and statements etc. and moreover, is a holistic record of the exhibition itself.
Synopsis of Artwork: Black Birds I and II
I like to use discarded items, waste material no longer considered useful. The ambiguity of external references combine with personal experience, places visited, stories of my grandmother lead me in new directions. Recycled materials, old and forgotten textiles and waste have a history’. These I break down, tear, and cut, until they are re-assembled to create something more meaningful. Fragments and layers mark the passing of time, the rituals of making (cutting paper, gathering materials, machining, sewing) acting as part of the narrative of the work.
I am interested in the open landscape, the shadows of marks made by man in the earth, the reflections in water and flooded fields, gardens and seasons changing. I grew up in the wind-swept fenland water and woods of Norfolk. Crows, ravens, magpies the 'black birds' familiar to that landscape picking the wheat and foraging in the farmlands are the subject of this piece. The land is rich because it often floods. The impressive physical changes to the landscape raises issues about our fragile relationship with the local and national environment.
My training is in Fine Art and I work between two disciplines, painting and mixed media textiles, I layer text, images and cloth using glue and paste methods. I scrape away to reveal under layers. Applique and quilting is often used to add colour or texture. The stitched mark becomes a line ‘of drawing, dye becomes my paint. The use of stitch is imperative to how the work holds together the ambiguous found surfaces including old sheeting buried and stained by the earth and paper waste used in this piece. I have been drawn to the unconscious mark making of the stitches and layers not normally seen.
Techniques
Print, paint, dye and stitch. Layering with paste.
Media: Cold water dyes, acrylics, conservation paper, assorted muslin and cotton fabrics, wax rubbings, ink.
Cloth Type: Found fabrics and papers.
Size: 60 cm (width) x 300 cm (length) for each artwork.
Fairfield City Museum and Art Gallery, NSW, Australia.
Photograph courtesy Cedric Boudjema, Director, Fairfield City Museum and Art Gallery.
Orange Regional Art Gallery, NSW, Australia.
Photograph courtesy Marie-Therese Wisniowski.
Redcliffe City Art Gallery, Queensland, Australia.
Photograph courtesy Karen Tyler, Director. Photography by Al Sim.
Wangaratta Art Gallery, Victoria, Australia.
Photograph courtesy Marie-Therese Wisniowski.
No comments:
Post a Comment