Jane Whiteley

quilt for a sleeping person detail, silk and cotton gauze, hand stitched, dyed with indigo and acid dye 1991

the hands know,
the materials too,
quite apart from your imaginings,
less or more than your intentions -
following the pattern that emerges,
the story as it tells.

Jane Whiteley

Sides to the Middle, Fingers to the Bone, silk and cotton gauze quilt, indigo dyed. 2009 stitched with red thread on the 'worn areas'

Born in England, Jane Whitely has lived in Freemantle, Australia since 1988.

She works with the stuff of bandages. Hand stitched gauze.
She works with the idea of reparation. Of extending life.
She darns. She mends.

Her quilt, Sides to the Middle, Fingers to the Bone references the English domestic practice of turning the sheets in order to prolong their life and was included in the important 2010 exhibition at the Victoria and Albert museum in London England, Quilts 1700-2010 Hidden Histories, Untold Stories. Large Red Cross, cotton bedsheet, flannelette and gauze. 1998

She works with the ideas behind the cloth. Under the covers, wrapped up with bandages. The intimacy of cloth. The memories of the body.

She is a poet.
In Art Textiles of the World Australia volume 2, her writing is given nearly the same amount of space as images of her work.

I use cloth because it has a powerful human presence and has the capacity to express humanity, human endeavor, emotion. It is as if cloth takes on the imprint of energy, the memory, of the body through years of use and wear.
down cotton gauze, cotton blanket, canvas, hand and machine stitched, eucalyptus dyed, 2006

Her work employs used domestic textiles in a very courageous way. With simplicity.
The human body's mark.
What would usually be thrown away, is made into art by Jane Whitely. Her work asks us to think about what is really important.

Her work is almost sculptural. It suggests the body's absence. It recalls the body's presence.
Her textiles breathe.
Like passing footsteps.

a story unfolding
Leave no shadow, no stone unturned hand pieced silk, acid dye, cotton threads 2006

Most of these images are from Art Textiles of the World Australia, Volume two. The Powerhouse museum in Sydney, Australia mounted a solo exhibition of her work in 1999, but there are no images available on their website. The catalog for that exhibit, From Within is unavailable to purchase.

I hope that this blog post brings more attention to this artist's work.

Joyce Wieland

O Canada Animation (1970)
The 71 mouths forming the words to the national anthem are embroidered in red lips and white teeth on cotton.

In 1987 Joyce Wieland, one of Canada's most beloved artists, was given a retrospective at the Art Gallery of Ontario, the first for a living woman artist. The images in this post are taken from the catalogue for that exhibition.

Lucy Lippard's catalogue essay states: "Joyce Wieland is a wild card that saves the contemporary art world from its straight and narrow conformity to institutionalized ‘wildness’. She moves back and forth between mediums and as well, she has a breadth of content. Her art has been criticized for being awkward, sentimental and naïve. She has always had a centre. Her work unifies a personal, sexual, domestic landscape that has grown to be a transcontinental landscape."
Reason Over Passion, cotton construction, (1968)
Joyce Wielend made this quilt for the prime minister of Canada, Pierre Elliot Trudeau.
Collection of the National Gallery of Canada

Pierre Elliot Trudeau’s confident assertion of the need for government to place reason above passion juxtaposed with the softness of a bed covering (with its connection to the passion of birth, death and love making) makes a thought provoking yet sensual piece of art.

In 1960 she said about the Dada artists. “It’s not just painting, not just art – they’re artistic in a general way. They see things whole. Their jokes are about life." She wanted that same wholeness in her work.

I Love Canada - J'aime Canada, cotton construction (1970)

In 1971 she had a retrospective called True Patriot Love at the National Gallery of Canada. She was 40. Joyce Wieland was a born again Canadian and part of the feminist wave. “I think of Canada as female” she said having recently travelled from Toronto to Vancouver and saw a land that 'amazed' her. It was a nationalistic time in a Canada still euphoric from the 1967 centennial.

For "True Patriot Love” Wieland received Canada Council funding to produce new pieces with help from expert craftswomen in knitting, embroidery, rug hooking, and sewing. She wanted to emphasize the collaborative aspect of art and the value of traditional domestic arts. 10 out of 36 pieces in the show were from cloth. “I wanted to elevate and honour craft, I wanted to join women together and make them proud of what they have done”. It was also symbolic of a way that the country might work together. (p.s. Judy Chicago's Dinner Party did not happen until 1979).

Squid- jigging hole (1971)
The words to this east coast song are shown with embroidered lips on cotton

Harold Rosenberg once said that if art went backwards it would become handicraft and if it went forward, it would become media. "She was like Eva Hesse who responded to minimalism in her unique way. Wieland is not a primitive but she is an outsider. She thrives on tension. " writes Lucy Lippard. Joyce Wieland worked with both craft and with new media, she revelled in her femaleness, she was able to combine opposites like earth and spirit, fact and feeling, pain and pleasure.

Her work is intimate because it offers places for the viewer to enter with her/his own associations. She uses words to ‘illustrate’ the visual instead of the other way around. Her speaking mouths are a good example.

The Water Quilt (1970-71)
Embroidery of arctic wild flowers and sewn plastic construction
Text from James Laxer's book The Energy Poker Game, about the alleged plot by the Americans to take over Canada's water resources.

She said that irony was too frivolous. “We have to get to the very essential thing now, the land, and how we feel about it. It’s important to feel the beauty of everything, to be as positive as possible.’ Joyce Wieland made art for thirty years, and she was always considered eccentric.

Her sister helped her make her quilts. “I cut things out, basted the quilt and my sister completed it.” Wieland wanted to make art that was accessible to everyone, and at the same time invest it with many levels of meaning.”

“I thought that the quilts should be used for special occasions or have a celebratory use – first day of spring and such like. Getting into the making of quilts as woman’s work was a conscious move on my part" Wieland and her husband Michael Snow lived in New York for a period of time. "It was a highly competitive scene with men artists in New York and it polarized my view of life, made me go right into the whole feminist thing.” the water quilt DETAIL

Wieland used quilts because we know and trust them. Quilts mean hearth and home, they keep us warm.

Joyce Wielend was born in 1931 and died in 1998. Several websites promote Joyce Wielend. This one calls her Canada's greatest female artist of the 20th century. There is an excellent biography of the artist on this Canadian government site. In 1983 she was awarded Canada's highest honour, The Order of Canada.

Gabriella D'Italia

Black Finery
2008
Cotton sateen, cotton batting, machine pieced, appliqued, embroidered, hand quilted. 64 x 64 inches square.

This piece is included in Quilt National 2009 and I photographed it from the catalogue (page 54). I've returned to it many times because I have found it to be very inspiring in regard to my own work in white damask. I love the way that this artist uses a single fabric cut into tiny regular pieces which are then pieced back together again. She makes a minimalist statement about cloth itself as well as referencing larger ideas such as individualism and community. I love this idea. It reminds me to look at cloth in a fresh way. What kind of cloth is it? Is it silk, cotton, linen and what are the characteristics of those fibres? How is it woven? What is its usual purpose?
Here is her statement from the quilt national09 catalogue.

Quilts embody ideas and have functional purpose in a domestic context. Through manipulations of fabric and stitching, I explore the intimacy between manufactured objects and daily living. The idea of finery emphasizes both the created nature and elevated status of this quilt. Its homogeneous, incremental piecing refers to elemental concerns, both material and philosophical, or relationships, boundaries, and scale, all framed in the context of home.

Interested in finding more out about this artist, I googled her name and found out about her gold quilts. Here is some of what she has to say from this website.

I work compelled by a reciprocal exigency exerted in alternation between materials and mind. I find expression of the simultaneously created and creative capacities of everyday objects through incremental change and elaborate specificity so I work in tiny pieces, as in my "Finery" series, and with repetition and similarity. Upon closer examination of "Gold Quilts", seemingly identical quilts reveal vast material discrepancies. I don't want to move past objects, or transcend, but to move further into them.

There are more images of her work on the Maine Craft Guild website.
Gabriella D'Italia lives in Newburgh, Maine USA.