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
Black Birds I & II (Engaging New Visions) C. Holmes
Autumn Visions I & II (Engaging New Visions) J. Petruskeviciene
Razing/Raising Walls, Warsaw (Engaging New Visions) N. Starszakowna
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: Quite Alone Oasis…
Nature has always inspired me - its forms, colours, surfaces and natural phenomenon awaken positive concepts and images. I have been exploring how Lithuanian traditional methods fit within the contemporary art.
For more than 20 years I have been interested in mottling and dyeing with natural dyes on natural textiles. Everything started in childhood. In my country eggs were mottled in such a way: one started with alder - tree bark which was cut, soaked, boiled for a while. We added rusty pieces of iron and then put wax painted eggs into it and left it for several days and thus one had blackish mottled Easter eggs.
That is the most genuine technique of batik and it should not have been originated from exotic countries. It has always been nearby; therefore I am inclined to call it the technique of “motley cloth” dyeing. Moreover, that the very word “batik” implies - “mottling”.
Following the old practice, in different countries, I find many similar recipes - the unity of the never-ending providence of nature; the cycle of life, the eternal cycles of the universe.
The intention of my presenting this work is my feeling for and about the Australian exotic character of nature, light, harmony, and self-invited fire. My ultimate purpose was to get ash-coloured texture with iron printing.
Techniques
Painted, drawn, discharged, iron stamped crepe-de-chine using natural dyes, cold wax resist and mordants.
Size: 60 cm (width) x 300 cm (length) each artwork.
(a) Quite Alone Oasis . . .(Jurate Urbiene) left artwork.
Fairfield City Museum and Gallery, NSW, Australia (right artwork by Els van Baarle - see future post).
Photograph courtesy Cedric Boudjema, Director, Fairfield City Museum and Gallery.
(b) Quite Alone Oasis. . . (Jurate Urbiene) right artwork.
Orange Regional Art Gallery, NSW, Australia (left artwork by Els van Baarle - see future post).
Photograph courtesy Marie-Therese Wisniowski.
(c) Quite Alone Oasis . . . (Jurate Urbiene) right artwork.
Redcliffe City Art Gallery, Queensland, Australia (left artwork by Els van Baarle - see future post).
Photograph courtesy Marie-Therese Wisniowski.
(d) Quite Alone Oasis . . . (Jurate Urbiene).
Wangaratta Art Gallery, Victoria, Australia.
Photograph courtesy Marie-Therese Wisniowski.
(e) Quite Alone Oasis . . . (Jurate Urbiene) - full view.
(f) Quite Alone Oasis . . . (Jurate Urbiene) - detailed view.
(g) Quite Alone Oasis . . . (Jurate Urbiene) - 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
Black Birds I & II (Engaging New Visions) C. Holmes
Autumn Visions I & II (Engaging New Visions) J. Petruskeviciene
Razing/Raising Walls, Warsaw (Engaging New Visions) N. Starszakowna
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: Quite Alone Oasis…
Nature has always inspired me - its forms, colours, surfaces and natural phenomenon awaken positive concepts and images. I have been exploring how Lithuanian traditional methods fit within the contemporary art.
For more than 20 years I have been interested in mottling and dyeing with natural dyes on natural textiles. Everything started in childhood. In my country eggs were mottled in such a way: one started with alder - tree bark which was cut, soaked, boiled for a while. We added rusty pieces of iron and then put wax painted eggs into it and left it for several days and thus one had blackish mottled Easter eggs.
That is the most genuine technique of batik and it should not have been originated from exotic countries. It has always been nearby; therefore I am inclined to call it the technique of “motley cloth” dyeing. Moreover, that the very word “batik” implies - “mottling”.
Following the old practice, in different countries, I find many similar recipes - the unity of the never-ending providence of nature; the cycle of life, the eternal cycles of the universe.
The intention of my presenting this work is my feeling for and about the Australian exotic character of nature, light, harmony, and self-invited fire. My ultimate purpose was to get ash-coloured texture with iron printing.
Techniques
Painted, drawn, discharged, iron stamped crepe-de-chine using natural dyes, cold wax resist and mordants.
Size: 60 cm (width) x 300 cm (length) each artwork.
Fairfield City Museum and Gallery, NSW, Australia (right artwork by Els van Baarle - see future post).
Photograph courtesy Cedric Boudjema, Director, Fairfield City Museum and Gallery.
Orange Regional Art Gallery, NSW, Australia (left artwork by Els van Baarle - see future post).
Photograph courtesy Marie-Therese Wisniowski.
Redcliffe City Art Gallery, Queensland, Australia (left artwork by Els van Baarle - see future post).
Photograph courtesy Marie-Therese Wisniowski.
Wangaratta Art Gallery, Victoria, Australia.
Photograph courtesy Marie-Therese Wisniowski.
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