Lenore Tawney: Mirror of the Universe

In Utero 1985  mixed media  25 x 11.5 x 11.5 inches (chair only) Lenore Tawney

"...to seek a barer life, closer to reality, without all the things that clutter and fill our lives.  I left friends whose preconceptions of me held me to their image of me....The truest thing in my life is my work.  I want my life to be true.  Almost gave up my life for my work, seeking a life of the spirit."

 Lenore Tawney, 1967 journal entry

Installation of Lenore Tawney's weaving at John Michael Kohler Art Centre, Sheboygan Wisconsin.  On wall from left to right:  Dove 1974  linens  118 x 108 inches,  Waters Above the Firmament 1976 (small 36 x 36 " version),  In Fields of Light 1975 (orange) linens, 108 c 100.5 inches, Little Spring 1962 linen 48 x 23.5",  Tau, 1974  linen 80 x 108 inches, Hanging in foreground left to right are: The Megalithic Doorway, 1963 linen 204 x 28 inches, The Path, 1962 linen and gold, 90.5 x 24.5 inches, The Bride 1962 linen and feathers 138 x 15 inches, and in front of Tau is Untitled (Bird) 1963 linen, feathers
and wood 65 x 30 inches.

"When I was doing the woven forms, I was dancing with joy all the time.  They were so spontaneous, I didn't know what they were - they just kept going higher and higher.  I thought, No one will ever show these, they're too tall for a gallery.....so I'll keep going"      Lenore Tawney

Cloud Labyrinth 1983, canvas and linen 16 x 24 x 18 feet

An entire gallery at the John Michael Kohler is devoted to the monumental Cloud Labyrinth,  made when the artist was 76 years old.

"I sometimes think of my work as a breath"  LT

Thread can be woven into shields and cruciforms, it can also be, improbably and delicately, unwoven.  A cloud is a visible amassing of solid, liquid and gas, water at its most diffuse. The threads dance and vibrate, shifting the light, tickling the eye. The eye  follows the thread up like vapour invisibly evaporating into a cloud and then comes down, a string of droplets, back to earth.
 (wall text at JMK art centre)

cloud labyrinth 1983  detail

"It is impossible to describe the range of expression in this work.
 But it can be said that trembling and sensitive images are brought before our eyes even as we look, and also that deep, and sometimes dark and unrealizezd feelings, are stirred in us. 
There is penetration.
There is an urgency that sweeps us up, 
an originality and success that holds us in wonder.
This work is wholly done"         
Agnes Martin 

assemblages and collages made by lenore tawney, displayed at the John Michael Kohler art centre

"You have to forget time entirely, and live in eternal time"  Lenore Tawney

She was 50 when she moved to New York but looked young and passed for 30.
She let time be erased from her life story for a while.

Bach 1967  collage 12.5 x 11/5"

She operated without assistants until the very end of her life at age 100.

shelves with objects from Lenore Tawney's New York studio/home

'The weaving just grows and keeps coming.  It's all inside of me.
It was really thrilling.
I used to sing and dance all by myself there at night. 
Then I'd get up very early and work all day"
 Lenore Tawney

egg shells in a basket

Lenore Tawney's studio is now part of the unique permanent collection of artsts studio/homes that have been transformed into art environments at the John Michael Kohler Art Centre.  Until this year the studio's contents were in the care of the Lenore G Tawney foundation in New York.  Kathleen Nugent Mangan, one of Lenore Tawney's close friends is the director. 

objects from Lenore Tawney's studio

"My work is my pleasure.  It's my life, it's what I live for."       Lenore Tawney

cloud labyrinth detail

Lenore Tawney transcended any distinction between art and craft.
Her work is an important part of the visual language of 20th century art.

Lenore Tawney's studio detail

Lenore Tawney's believed that there is no division between art and life, and she created a quiet environment for art making, meditation, yoga, and focusing on the inner, deeply personal world.  Tawney is among the most impactful artists of the last half of the 20th century.  She dedicated herself to a devotional interdisplinary practice inufused with ideas of Buddhism, Zen philosophy, Jungian psychology, wanderlust and nature.  She believed that art making has the potential to usher in a lightness akin to a spiritual awakening.   (from the wall text at the Kohler Art Centre in Wisconsin)

'so new and personal that it does not have a name or classification'   (new york times  1963)

April Martin: Harbour Front Centre of Craft and Design Vitrines, Toronto

To Lips velvet, brass, porcelain, mirror 2019 by April Martin

April Martin's reflections on the creation of her work in the exhibition Magical Material Thinking June 8 - mid October 2019 make up the text in this post.  Photos:  Brian Medina.  

The six vitrines push out of the wall into the hallway and transform it from a place of making (studios) to made (galleries). I thought about them as their own worlds, next to one another but with completely different atmospheres. All of them feel hot to me, but different kinds of hot. I like imagining opening a kiln in the middle of a firing and seeing the glaze move in ways you do not get to witness.

Romance Portal brass, wax  2019 by April Martin

My work is about energy. Embedded unseen, perhaps alive.  My titles come from the people I love in my life and there are many.  I will never not have enough information to sort through or manifest into shapes and these are the ones I made at the end of May, 2019.  

In regard to Romance Portal, somewhere in my thinking I became obsessed with the idea of a giant wax chandelier.  I also thought about the lost wax process of sculpture and how it veils the fact that the metallic positives we see actually grew out of a suspended moment in wax.  I encouraged my first ceramics class to make the tiniest fixings for a Barbie banquet because working small with clay teaches you how your hands react to the wet/dry phenomenon that is ceramics. 

I made the tiny beeswax candles on my stove.  

Ideal Solution pewter, cobalt carbonate fired to quartz inversion, earthenware 2019 by April Martin

My main concern with using pewter (especially salvaged) was that there was a potential for lead content but through research I learned that antimony is now present in pewter as a replacement for lead.  Antimony was used in kohl, as a way to darken the eye. 

I was looking for a solution to keep the ceramic standing up and pewter became my ideal solution, a low fired heavy metal to balance the face I saw in the clay.  Knowing that embedded in its metallic shine is a chemical that has been used to blacken eyes for beauty, it felt fitting for me to insert cobalt experiments here, as that black area was achieved unintentionally.

I think it’s such a privilege to be able to show work, and it’s always so much work to get to the actual showing part, that when you’re in the thick of the install, editing is absolutely key.  It’s so hard to keep that part of yourself sharp.  

Brightening Visibly copper, wool, carbon fiber 2018 by April Martin

This vitrine looks the most like the inside of a kiln.  It’s lined with thin copper and the constructed plant floats inside, its leaves are copper on one side, wool on the other.   It unfolds and peels open towards the bottom and the copper becomes more exposed.  Brighter.  

The most recent example of my dad exclaiming his personal idiom (the title for this piece) was when a thrift store near our family cottage was discovered.  “April just found out there is a Salvation Army in the closest town?! ... Brightening Visibly!” 

“Brightening Visibly!” is a poetic reaction to how smiles take over the shape of one’s face.  Is a smile bright?  It’s definitely a form of communication, often the simplest way to answer a question, and also a more animal response, it beats your brain and tongue to the words that may actually not fit with this visible sheen. 

Rising Libra fired and unfired cobalt carbonate, clay 2019 by April Martin

I am a Libra rising. 
Rising Libra sounds hotter though. This is a simple structure but the work it’s doing is the most palpable. It’s balancing and it’s fragile and if it fell and broke there would be pink and blue dust everywhere and it would be annoying to clean up but that’s kind of the worst of it.

Snek Out neon, earthenware, unfired cobalt carbonate 2019 by April Martin

Opiomancy. Telling the future by snake trails

Lara who lives in LA but is Dutch helped me with the title.  We were talking about Snakes, Snacks, Sneks and Slung. I like that snek isn’t really an English word, it’s some form of sneaking and snucking and again it feels like a movement that comes from inside.   

To Lips velvet, brass, porcelain, mirror 2019 by April Martin (detail)

It was spring and I had tulips in my house.
My niece whispered “little bit of romance” to me across my parents dining room table on my birthday. 

More about this exhibition on Judy's Journal.