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)

Sati Zech

bollenarbeit 244, 2014  oil on canvas  77 x 60"  sati zech

Berlin artist, Sati Zech makes joyful yet meditative artworks that she calls bollenarbeit that refer, she says, to the hills and low mountains of southern Germany, the region where she was born.

bollenarbeit no 242, 2014  69.5 x 34 inches  oil, canvas  Sati Zech

To make them she tears apart sheets of canvas into strips and then reassembles them.  Sometimes they are overlapped, sometimes she uses white archival glue, sometimes plaster or wax or thread to put the pieces together.  The domes and dots of thick red paint are placed in horizontals on the cloth surfaces before or sometimes after this assembling.

bollenarbeit no 19, 2006  oil, canvas  94 x 63 inches, Sati Zech

In 2006 she had an exhibition of this body of work at the Heidelberger Kunstverein in Germany, and has gone on to show variations on the theme around the world.  Her New York gallery, the Howard Scott has this to say about Sati Zech's bollen paintings.

"The artworks of Sati Zech are unique amalgams of historically ritualistic mark making and 21st century self-expression.  They emanate feelings of femaleness: her power and passion, her cycles and repetitions."

bollenarbeit 110, 2010  37.5 x 27 inches, oil, canvas, wax, Sati Zech

"The layering, gluing, tearing, sewing all give rise to the idea of labour.  Specifically women's labour, a kind of thoughtful, painstaking never-ending work that manifests itself in tactile visions of strength, beauty, necessity, serendipity."

 "They contain the emotional dynamism of Louise Bourgois, the semantic materiality of Joseph Beuys, the subtle tactility of Eva Hesse and the symbolic charge of African art."  all quotes from Howard Scott Gallery

Sati Zech's studio with her dog, Rudi

Why does this work resonate so much?
Is it the colour?
red .... white
Or the repetition of rounded shape
Or the variety within that repetition
like natural elements - like human figures
Or the emotion expressed with the tearing up of the cloth
and the made elements
the destruction?
Or is it the hand-made de-skilled repairing of that cloth?
Is it because the artist has created a new square
a new human scaled rectangle
fabric that looks to be careless,
but that has taken much thought and care.
much work
There is a feeling of safety in these pieces.

 "These works are about communication.  The single bollen are like elements of a piece of music, or flags, or skin that's been branded."  Sati Zech

for Louise Bourgois #17   Sati Zech bollenarbeit detail

 She is inspired by the large sensual traditional artforms of several African countries.

for Louise Bourgois #18  Sati Zech bollenarbeit detail

 She is inspired by female sensibility.

All information is from the internet.  Click here for Howard Scott gallery, here for an image-full Zeit visit with the artist and here for Sati Zech's own website.
Sati Zech speaks about destroying and re-building and about the power and rhythm of communication on this video from Paris.