Mississippi Valley Textile Museum, Almonte Ontario, Reiko Sudo and Nuno: Textiles from Japan
a working woolen weaving factory . In the above photo, one of the twenty -two columns is wrapped red polyester fabric, Paper Roll 2002, a chemical lace embroidery designed by Reiko Sudo in 2002.
Reiko Sudo images of the gallery, she focused her attention on the columns that line up in the temporary exhibition space and dressed them in her original fabrics. The white pleated and slashed polyester screen on one of the walls is named Tanabata, and was designed in 2004 by Reiko Sudo and Hiroko Suwa. (Tanabata is a traditional annual festival. On the seventh day of the seventh lunar month, girls pray to become good at sewing by decorating bamboo with folded paper charms.
is available from the museum, with essays by Alen C. Elder, Naomi Pollock and Yoko Imai accompanying photographs of each cloth.
Thursday, February 19, 2015
Monday, May 5, 2014
|Flying Over Salt Lakes,|
stitching on cotton with earth ochre, approximately 13" x 16", 2013
|Left: Map Without Words|
9 feet, 4 inches, x 8 feet, 5 inches, Right: Silent Ice/Deep Patience, 23" x 23". both 2013
approximately 24" x 18", wax and silkscreen resist on cotton with stitching, 2011
|wandering time, 2011, detail|
|wandering time, 2011, detail|
|Map Without Words,|
wax and silk screen resist on cotton, stitching, applique, 9'4" x 8'5", 2013
We often meet in the centre in Dorothy Caldwell's world. Four corners, four patch, grids, crosses, grid the large unknown to make sense of it. There is order within chaos here. Human geography.
This body of work is the result of the artist's travels to the Australian Outback and the Canadian Arctic. Interested for decades in how humans mark the land, (previous exhibitions Field Notes (1998) and Ground Cover (2000) this current exploration of wilderness landscapes is a continuation for the artist.
|Map without Words, detail|
|A Red Hill, A Green Hill,|
ink wash, earth ochre on cotton with stitching and applique, 9'4" x 9'8" 2012
|A Red Hill, A Green Hill, detail|
|A Red Hill, A Green Hill , detail|
|How Do We Know When It Is Night? |
wax and silkscreen resist on cotton, stitch and applique, 10 feet by 9 feet 6 inches, 2010
bowls drawn as if with a giant pencil,
duality, in and out
|How Do We Know It' Night? detail|
|How Do We Know It's Night? Detail|
They cause us to think beyond the gallery
about the vastness of nature and how nature has its own system.
The larger seasonal cycles, the many small parts within vastness.
That human marks are revealed by time and accumulation,
then erased by wind, eroded by water, hazed over by weather.
Stain of earth, footprint of man, animal tracks through the forest,
like poetry, these things occur one by one and resonate with personal experiences that don't always have anything to do with land, more with relationships.
wax and silkscreen resist on cotton,stitching, applique, 8'9" x 8'0", 2014
"Maps give a viewpoint of the land filtered through what is important to the mapmaker. I am mapping unfamiliar territory, identifying my personal landmarks through gathering, touching and recording the contents of the landscape. In this way I form a sense of place for myself." Dorothy Caldwell
Other internet sources for this artist:
Ann Jaeger's informative review of Caldwell;s life and work on trout and plaid online journal,
Barbara Lee Smith's curated exhibition catalog Traces ,
as well as Caldwell's own website and the CCCA artist profile .
The Dorothy Caldwell quotes in this post are from her statement found in Barbara Lee Smith's essay in the Traces catalog. All photos are from the exhibition and are by Judy Martin with permission from Dorothy Caldwell.
Friday, February 7, 2014
|red stripe #262 1988 24 x 18 cm, hand woven ramie, linen, silk, rubbed with brick|
|upper: six squares, indigo blue, W #306 1994 lower: six squares, indigo blue, RF #305 1994|
|six squares indigo blue W #306 detail|
|Trace of a Leaf #151 1988|
She considers the vertical warp threads to represent time and the horizontal weft threads to represent space.
The crossing points of warp and weft physically disappear from view, but continue to exist as integral to the fabric. The accumulation of the weft threads represents time passing. When she weaves, she thinks about the process as one of transformation.
|Trace of a Leaf #151 detail|
By grinding her newly woven cloth with earth, she exposes that original warp. She unveils the essence of the fabric. "I feel that my woven work is about time and the human condition." Chiyoko Tanaka
|red stripes on white stripes #646 and #647. both 1985|
|Trace of White Line #641 above, White Line #642 below, both 1985|
|Black Stains on Deep Green Stripes #52 1990|
It's like a performance.
|Three Squares, Blue Threads, Sienna #281 1997|
|Three Squares, Blue Threads and Gray, #671 1997|
|left: red earthy clay #200 1985, right: permeated black #400 1986|
|Permeated Black #400 1986|
|wall: Blue #100-2 1983, floor: White, B #100-1 2983|
"I am weaving time"
|white mud cross, red thread #652 1992 19 x 19 cm hand woven ramie|
"At the still point of the turning world.
...neither from nor towards.
At the still point, there the dance is." T S Eliot
Chiyoko Tanaka was profiled in 2003 on Culturebase and again in 2010 by Kate Barber who visited her.
|mud dots on brown stripes #742, hand woven linen, ramie, dyed with mud 2009|
She is represented by Brown Grotta source of the above image. (the most recent I could find)
Monday, November 11, 2013
|Agnes Martin's Innocent Love 1999 acrylic on canvas series at the Dia Beacon, New York. There are eight paintings in this series, four on each wall. All are 60 inches square.|
Q: How do you start a painting?
A: "I wait for inspiration.
I ask my mind - What am I going to paint next? and it appears in my mind. My inspirations are in colour. "
She uses mathematics to decide the scale and relation of the colours. She draws lines with a small ruler because a big ruler pushes the canvas down.
|Happiness. Innocent Love series 1999|
"For twenty years I was not satisfied with my paintings and at the end of every year I had a big fire. "
|Love: Innocent Love series 1999|
Waiting for inspiration.
"I was thinking of innocence, and a grid came into my mind, and so I painted it. 6 feet by 6 feet and I liked it. It looked like innocence. And I asked the museum of Modern Art if they wanted it and they did."
|Contentment: Innocent Love series 1999|
"Sometimes I take a year off so I'll know something,
because when you're painting, you just get up and do it.
You don't know it."
|Innocent Love series seen through opening, on the facing wall is The Spring, 1958. 48" square|
"Artists are very fortunate. Other working people have to talk to people all day.
You just can't be an artist if you can't be alone.
When you're alone, you are affected by everything.
The sky, nature.. You respond."
|Untitled #16, 2002. The thin paint allows the roughness of the gesso undercoating to be more evident.|
The environment doesn't have impact on my work. I don't paint nature."
|untitled 1959, 30 inches square|
"When I draw horizontals - it's expanding
I like the horizontal line better than any other. It's not related to landscape.
It goes out.
When you look at the painting you go in over the horizontal line.
It's like music.
Some musicians compose music about music.
Beethoven composed music about experience.
It has meaning.
Painters can paint about painting, but my painting is about meaning.
I use that horizontal line to get meaning."
|left: untitled 70", 1960 oil, painted when the artist was 48, right: untitled #17,2002, acrylic, painted at 90 years|
"They were non subjective.
No emotions were in the work.
Minimalists tried to be not there.
They wouldn't put their names under the paintings.
They said to write their names with a number.
People call me a minimalist, but I'm not.
I'm an abstract expressionist.
I sign my name on the back."
|The Beach, 6 foot square pencil on white Gesso painting from 1964 - detail.|
"The intellect struggles with facts.
Keep discovering facts, then make a deduction.
But this is just guess work, inadequate.
You won't find out about life.
I gave up facts in order to have an empty mind.
You have to practice an empty mind.
I gave up being intellectual.
I don't have ideas.
I'm convinced that with a soft attitude you receive more."
Agnes Martin (1912 - 2004) quotes from Mary Lance's documentary With My Back To The World.
Images are of Agnes Martin's 2012 installation at the Dia: Beacon.
Another excellent interview with Agnes Martin (1997) is here.