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untitled (these textile works)
Archival Inkjet Prints
2015
2015
As a visual artist, I am interested in recontextualizing materials often associated with ‘craft’ by placing emphasis on process, while also referencing tropes of minimalism, conceptualism and abstraction. For the new series of work Untitled (these textile works), I explore how to reduce the meaning, decoration and function of textiles including the various ways in which they can be altered into non-representational objects.
Untitled (these textile works) is my first artistic attempt at challenging and disturbing the art/craft dichotomy that currently exists. Using a range of textiles from old clothing, quilt-making scraps, and other found materials, I engage in processes of deconstruction and reconstruction of the select samples. Each piece acts as an abstract collage of sorts, where I experiment with a single material by cutting, ripping, folding (sometimes along pre-existing creases), and rearranging the same material into different configurations with new additions such as thread, cello tape, masking tape, painter’s tape, iron-on fusing tape, straight pins and safety pins. Each piece is then scanned and centred on a white background, where it appears as if tactfully mended.
Notably, some of the patterns and textures of the works resemble fabrics of the everyday, such as seen on clothing or with furniture design, allowing for a certain sense of familiarity in viewing the works. However, because the select materials do not reference any specific item but, rather, the overall materiality of textiles, a range of interpretations can be drawn from the works, allowing for the engagement of diverse audiences.
Untitled (these textile works) is my first artistic attempt at challenging and disturbing the art/craft dichotomy that currently exists. Using a range of textiles from old clothing, quilt-making scraps, and other found materials, I engage in processes of deconstruction and reconstruction of the select samples. Each piece acts as an abstract collage of sorts, where I experiment with a single material by cutting, ripping, folding (sometimes along pre-existing creases), and rearranging the same material into different configurations with new additions such as thread, cello tape, masking tape, painter’s tape, iron-on fusing tape, straight pins and safety pins. Each piece is then scanned and centred on a white background, where it appears as if tactfully mended.
Notably, some of the patterns and textures of the works resemble fabrics of the everyday, such as seen on clothing or with furniture design, allowing for a certain sense of familiarity in viewing the works. However, because the select materials do not reference any specific item but, rather, the overall materiality of textiles, a range of interpretations can be drawn from the works, allowing for the engagement of diverse audiences.
