Posts tagged embroidery
Natalie Ciccoricco
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Natalie Ciccoricco is a Dutch collage artist, living in California. After moving to the United States in 2012, Natalie started making mixed media collages and illustrations inspired by her new surroundings. Her work is characterized by her use of embroidery thread in combination with other materials, such as old photographs, magazines, books, and other ephemera.

Statement

In my work I weave together new narratives on paper, using embroidery thread and found images. By re-using old materials, it is my hope to give them a new life and meaning. I am inspired by the American landscape, my dreams, nature, arts, literature, and my travels.

My latest series ‘Down the Color Hole’ is an exploration into color and the concept of multiple dimensions. I use embroidery thread on images of old books and magazines to create the visual illusion of a new vantage point - a glitch in space and time from which the image seems to explode or implode, depending on how you look at it.

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Ashley Catharine Smith
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BIO

Ashley Catharine Smith is a Philadelphia based artist working in photography, video, and fibers. Through the combination of these mediums, she creates melodramatic depictions of relationships and sexuality. Smith earned her MFA in Photography, Video & Related Media from the School of Visual Arts. Her work has been exhibited internationally and throughout the United States at the Society for Contemporary Craft (2016), Marin Museum of Contemporary Art (2017), Center for Sex and Culture in San Francisco (2017), Pittsburgh Center for the Arts (2016), the Knockdown Center (2017), and the Delaware Museum of Art (2018) among others. She is currently an adjunct photography professor at Drexel University and an instructor at the International Center of Photography.

STATEMENT

My current work lives at the intersection of photography and sculpture. In all of these works, I begin with a printed photograph and embroider into the print to embellish important parts of the image or add something new. An intervention on the surface of the print creates a new reality. The embroidery speaks to a shift in perception that can occur when viewing images of our past. The work is driven by my desire to unpack how societal expectations and gender roles affect our interpersonal relationships and sense of self. It also aims to construct moments of closeness with the subject of the photographs through their printed image.

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Angie Zielinski

 Originally from St. Louis, Angie Zielinski received her B.F.A. from Millikin University (Illinois), and M.F.A. from Bowling Green State University (Ohio). Her work has been shown nationally, including solo exhibitions in Oregon and Ohio, and group shows in Tucson, Raleigh, Detroit, Chicago, and Brooklyn. She is currently an Associate Professor at the University of Arizona in Tucson, Arizona.

Statement

I am captivated by the power of shiny things and loud noises.  Mesmerized, I find myself wondering how explosions can be celebratory in one instance and devastating in another. My work examines the paradoxical notions of delight and distress.

With careful thought, I connect unrelated moments and memories to create imagined spaces where themes of whimsy, fragility, cause-and-effect, and spectatorship exist. Chain reactions become clear in the work, and delight and distress are conveyed through an abundance of gleaming materials and layered marks.

The tactile qualities and color of the materials I work with attract me initially, but I am also interested in their history, their everyday use, and their connection to my thematic interests. Drawing with thread is decisive—any missteps remain visible. Embroidery is traditionally a quiet activity, yet my imagery combats this calm practice by describing a contagious action, captivity, and explosions in stitched form.

 

Sofie Pihl

I'm interested in the concept of reality, how it is perceived and filtered, and how it is in constant fluctuation between what was and what will be.

 I'm intrigued and fascinated by the technical aspects of the photographic medium, and in my work I seek to experiment with and push the boundaries of conventional photographic technique. In my process of mechanical experimentation (in camera) combined with digital experimentation in the post processing phase, I want to free the photograph from the constraints of documenting reality as we usually know it. 

Traditionally, a photograph captures a single moment in time. In my work, I try to expand that instant, by letting movement draw itself into the picture. This way, the instant can stretch itself towards infinity, and the picture becomes a living scene that you can enter, leave, and come back to again.

I’m also very interested in filtering, sublimating and transforming my original images, by cutting them up and reassembling them, or by perforating and embroidering them with patterns. 

The embroidery breaks the surface of the print and enters a visual dialogue with the photographic image, at the same time merging with it to become a new entity of its own.

I work with both Nikon and Hasselblad cameras.

www.sofiep.com

Ying Chew

I am interested in challenging the distinction between art and craft. My aim is to explore the connections between art, craft and technology and through this to focus on aspects of the human condition. 

While every culture has traditions of needlework, it has been widely viewed as little more than a hobby, typically produced by women within the domestic sphere and associated with notions of comfort and familiarity. My intention is to seduce viewers with this familiarity and to invite or encourage them to rethink their preconceptions. 

Today textiles are products of technology, which means that there is little opportunity to instill them with individual and spiritual values. I am interested in combining the technological with the handmade. Specifically, I use digital technology (Photoshop) as a tool to produce a pattern, which is then hand-embroidered employing techniques that have been used for centuries. In this way, I hope to imbue humble raw materials (mass-produced cotton and canvas) with a uniqueness, visual richness and excitement. I am particularly interested in the use of textiles as a medium because of their ephemeral qualities—it seems appropriate that a medium that embodies a conceptual idea should not be everlasting. 

These works are part of a series inspired by daguerreotypes. Through the superimposition of images these portraits of unidentified people suggest the layering of experience and how our environments affect us. Specifically, I am interested in capturing a sense of the impermanence of life, as well as what we leave behind. 

www.yingchew.com.au

Shine a Light When It’s Gray Out by Stephen Wilson

Fine artist Stephen Wilson is debuting his newest series Shine a Light When It’s Gray Out at the New Gallery of Modern Art from Feb. 28 - Mar. 2, 2018. The exhibition will also serve as a book signing for the release of Wilson’s first cohesive art book. This will be the series' first stop on a tour across the US including shows in Los Angeles and Palm Beach among others.

Central to Shine A Light are Wilson’s signature creations - hundreds of butterflies composed of as many as 100,000 embroidered stitches each. The stark contrast of their flight against dark canvas speaks to his message of finding inspiration and communal interconnectedness during society’s darkest hours. 

Carla Kranendonk's Collages at Rebecca Hossack Art Gallery

Carla Kranendonk creates large-scale collages that are informed by both her experience of the African diaspora in her native Amsterdam and her travels to West Africa and the Caribbean.

Paper painted with bright patterns is combined with embroidery and beadwork, as well as photographs of figures from African culture and Kranendonk’s own family. The resulting works represent a travelogue, a collection of memories and references.

The works are not simply a record of the artist’s experience of Africana, but also an interpretation. Perspective is manipulated. Figures are flattened into a two-dimensional format set against panels of texture. Shading is replaced by thickly-painted lines.

The collages are studies of colour and pattern, which foreground the strength and expressiveness of femininity in a light-hearted visual language. Jewels and handbags assert the individuality of each woman, whilst talismans cast them as spiritual leaders. The recurrence of shoes evoke movement, the prospect of a journey. The compositions are completed with traditional domestic props, such as teapots and flowers, which the women interact with in state of rest.

Kranendonk’s works have been exhibited in the Netherlands and the UK, as well in Miami, New York and Los Angeles. This is her first solo exhibition with the Rebecca Hossack Art Gallery.

On view from February 28 - April 14, 2018 in London. 

Learn more

Interview: Teresa Lim

Teresa graduated from Lasalle College of the Arts with a First Class Ba Honours in Fashion Design and Textiles. Her personal design philosophy is to fuse three of her interests together: Illustrations, Embroidery and Surface pattern design. Her designs seek to blur the lines and boundaries between being an illustrator and a textile designer. She gets inspired by themes revolving around gender and womanhood.

She has showcased her works in exhibitions in Singapore, Hong Kong, Bangkok and Japan.To date she has also worked with international clients such as H&M, Swarovski, Gucci, Coach and Olympus to name a few. She absolutely loves reading and catching up on tv shows on netflix. 

www.teeteeheehee.com

You have such a distinctive style working with embroidery. What inspired you to begin using embroidery in your artistic practice?

I majored in textile design when I was in university. We had to go through a short course in basic embroidery, and that was the start of my embroidery journey. I started by working on samplers that were part of the course work, but I got so addicted to the process that I found myself hoping the course would never end!

How does your background in textile and fashion design influence your current creative process?

Because of my background and training in textile and fashion design, I am always thinking of application onto women’s (I majored in womenswear) bodies. Being exposed to this made me think more frequently about the female body and how we view it in society. This, in turn, also led me to ponder a lot more on gender issues, body issues, stereotypes and archetypes of women. At the end of my degree, I found myself being not so interested in the superficiality of design but in using it as a medium to highlight issues and tell stories.

In your series The Twelve Rooms, young girls appear unsure as they go through the pains of growing up. What struggles are these subjects, along with the girls in Sad Girls Club, going through?

I started The Twelve Rooms series after listening to a conversation amongst some young girls (about 10-14 years old). They were battering themselves for being too fat, when they were far from it. I wondered where they were getting their ideas for the perfect body image… and the ideas mostly came from social media and magazines. 

I remember from my own experience growing up, I accepted whatever society and the media threw at me, and I was mostly unhappy. I grew up thinking that I was the only one with these feelings, and I wished for someone real to tell me that I wasn't alone. The Twelve Rooms is my response to that. It is grown-up me telling the young me in the past that I'm not alone. It is the me now, using illustration and art as a form to tell any young person who might be feeling the same way, that they're not alone. Some struggles these subjects depict are bullying, problems with body image, feeling like they don't fit in, and conforming to gender expectations and stereotypes.

Can you talk a little about your choice on using such a traditional and historically feminine medium to create works that defy the rules of femininity?

I honestly feel that things shouldn't have gender. In fact, all of these "gender tags" we give to activities, colors and things, are all imagined and shaped by years and years of history and people in the past. So, imagine my curiosity when one of the most common comments people gave when I started embroidering was "Oh, you'd make a good housewife!" My choice of this medium is mainly a tool of rebellion against the common view of what femininity is or what it shouldn't be.

Your series Pistil Thoughts exudes an honest sense of vulnerability, as each embroidery piece is accompanied by a thought that challenges feminine ideals and expectations. Do these thoughts come from your own personal experience?

Yes. A lot of my work comes from personal experiences, also sometimes from people I personally know who are going through certain challenges and phases in life.

When did your series Sew Wanderlust begin? How many different places in the world have you created through embroidery in this series?

Sew Wanderlust began because I was unhappy with the way I was traveling. I noticed that my travel experiences mostly consisted of taking lots of photos, eating lots of food and then moving on to the next place, repeatedly. At the end of the day, there wasn’t much element of traveling there to me. It felt very superficial and meaningless. I started Sew Wanderlust as a different way to experience my travels. When I sit at a place and stitch it, embroidery is my form of photograph. My eyes pick up so much more detail. My ears listen to people talking in their languages... it’s so much more meaningful to me than just a photograph that people snap and walk away. I think at this point I have more than 30 different places. :D