weaving – Page 3 – Art Spiel

July 20, 2021July 22, 2021, by Katherine Earle

Overflowing Skies: Stephanie Eche at High Line Nine

Art Spiel Photo Story

../Downloads/drive-download-20210718T211005Z-001/120%20dpi/Agua-Cielo_Stephanie%20Eche%20.jpg — Agua/Cielo, 2021 Cotton, wool, indigo, wire and steel. Photo by Brian Schutza courtesy of the artist.

“…I try to follow the threads where they lead in order to track them and find their tangles and patterns crucial for staying with the trouble in real and particular places in time.”

– Donna J. Haraway, Staying with the Trouble: Making Kin in the Chthulucene.

The undulating asymmetry of Stephanie Eche’s weavings in her solo exhibition Handmade Landscapes: Ocean Meets Sky that ran through July 26th, 2021 at High Line Nine, leaves space for you to interpret. The first work that your eyes encounter, Agua/Cielo, mirrors staring out at an ocean horizon that becomes the air above, a direct embodiment of the show’s title. The loosely woven piece speaks to the cyclical nature of water; its evaporation and transformation into rain that returns it to earth.

July 7, 2021July 22, 2021, by Susan Hoffman Fishman

Woven and Waxed Water Stories

10° 20′ 32” N, 44” x 96” x 3”, detail. Salvaged fishing nets and lines collected from across the Pacific Ocean with deep-sea leader line, 2021 (in process) .

Hawai’i-based fiber artist Mary Babcock uses discarded fishing nets and lines as well as household wax paper to create tapestries and installations about sea level rise, “our proclivity towards destruction or entanglement,” and our perceptions of and relationship to water. The process of self-laminating wax paper for installations and of cleaning, sorting, and unravelling abandoned, tangled fishing nets and lines and then weaving them into something completely new, is the manifestation of her refusal to see anything as unworkable or unrepairable, including the climate crisis.

April 7, 2021April 12, 2021, by Etty Yaniv

Jessica Lagunas: With Every Fiber at Pelham Art Center

The artist and “Por siempre joven” (Forever Young) Series. Installation at the Bronx Museum’s The Block Gallery, 2019. Photo courtesy Argenis Apolinario/The Bronx Museum of the Arts

Jessica Lagunas is Interested in working with unconventional materials—makeup, hair, perfume, organic materials—through video-performance, installation, drawing, prints, artist books, embroidery, and recently, weaving. She is a New York City-based Latinx artist, whose group exhibitions include El Museo del Barrio’s The (S) Files Biennial, The Bronx Museum of the Arts’ Artist in the Marketplace, Pacific Standard Time: LA/LA at Museum of Contemporary Art Santa Barbara and Laxart, among others.

November 19, 2020November 2, 2022, by Anna Mikaela Ekstrand

The Immigrant Artist Biennial: Priscilla Dobler Dzul

Macintosh HD:Users:priscilladobler:Desktop:DoblerDzul3_resize.jpg — Priscilla Dobler Dzul, *The Performance of Labor, Class, Race and Gender*, 2020. Artist interviewing migrant workers. Photo courtesy Rebecca Dobler-Chale

The Immigrant Artist Biennial (TIAB) is a volunteer, female-led, artist-run project. TIAB 2020 launched in March in New York City at Brooklyn Museum, and continued in September through December at EFA Project Space, Greenwood Cemetery, and virtually, presenting 60+ artists. This interview series features 10 participating artists.

Born in Merida, Yucatan, Mexico, Priscilla Dobler Dzul, is an interdisciplinary artist working in sculpture, ceramic, film, fiber arts, and performance. Her work has been exhibited nationally and internationally. She has shown at A.I.R. Gallery, Brooklyn, NY; The Bellevue Art Museum, Bellevue, WA; Consulate of Mexico, Seattle, WA; NARS Foundation, Brooklyn, NY; 125 Maiden Lane, NYC, NY; Olympic Sculpture Park, Seattle, WA; Form and Concept, Santa Fe, NM; The Orange County Center for Contemporary Art, Santa Ana, CA; Decentered Gallery, Puebla, Mexico, and DAC Gallery, Los Angeles, CA.

July 16, 2020November 15, 2020, by Etty Yaniv

Center for Creative Works – Human Development

In Dialogue with Lori Bartol and Samantha Mitchell

Untitled (Herbies), by Doug Tan. Image credit: CCW/Virginia Fleming

Center for Creative Works (CCW) is a PA based unique professional art studio where artists with intellectual disabilities can access not only equipment and supplies but also dedicated mentorship, including help in promoting their work. Furthermore, it offers a
permeable space which prompts collaboration and idea sharing between CCW artists, artists outside of the studio, and community members at large. Lori Bartol, director, and Samantah Mitchell, exhibition coordinator, share with Art Spiel their vision for the organization and an insight into some of CCW artists’ work. Lori Bartol has recently revisited our discussion on how her team and artists have coped with the pandemic.

April 23, 2020April 22, 2020, by Etty Yaniv

Artists on Coping: Sylvia Schwartz

During the Coronavirus pandemic, Art Spiel is reaching out to artists to learn how they are coping.

Sylvia Schwartz was born in Australia but has lived more than half her life in NYC. Her art work explores the relationship between drawing painting and sculpture, or the shifting relationship between the imagined and the real. A recurring theme in her work is the physical and psychological spaces we inhabit. Schwartz’s work has been seen in group exhibitions in Manhattan, New Jersey and Brooklyn, including ODETTA, Lesley Heller gallery, Nurture art, several university galleries, the Attleboro Museum, and the Visual Art Center of New Jersey.

August 19, 2019November 15, 2020, by Etty Yaniv

Mary Tooley Parker – The Process of Making

Mary Tooley Parker, Back Room, 2019, textile, 48×33 inches, photo by the artist

Mary Tooley Parker ‘s fiber artworks pay a warm homage to folk art – throughout her recurrent themes and elaborate process. Her fascination with all things fiber –
weaving, knitting, quilting, rug hooking – started from an early age and she has continued honing her skills and color sensibility ever since. The artist shares with Art Spiel what draws her to fiber art, her process, and the ideas behind her work.

November 20, 2018June 4, 2020, by Etty Yaniv

Patricia Fabricant – Weaving a Fluctuating Self

After November 2016 Patricia Fabricant‘s paintings shifted from dense and layered abstractions to self portraits depicting fluctuating expressions and altogether underscoring post election malaise. Fabricant developed an intriguing mechanism of observation and layering. Her gaze is meant to be neutral, just a stare into the mirror but throughout the weaving process, chance yields unintended emotions – knowing, anxious, sad. The artist describes in this interview for Art Spiel her process, ideas, and on going projects.

Patricia Fabricant, Emotions: Angry, Love, Confused, Sad, Shocked, Anxiety, 2016. Each gouache on paper, 16 x 12 inches, photo courtesy of the artist

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October 25, 2018June 4, 2020, by Etty Yaniv

Jeanne Heifetz – Ordered Chance

Jeanne Heifetz‘s art has evolved from weaving and fiber early on to drawing and painting later on. While her previous body of work has typically derived from a process of material exploration, the impetus for her more recent work has been prompted by concept. As Heifetz puts it, “in spite of herself,” after the election it can also be seen as politicized. She was recently awarded a LABA fellowship for 2018-2019 at the 14^th Street Y, where she will study ancient Jewish texts on a given theme with other artists of different disciplines. In this interview for Art Spiel Jeanne Heifetz talks about her art, ideas, and projects.

Jeanne Heifetz, Pre-Occupied 18, 2016, silver graphite on flax paper tinted with iron oxide, 21″ x 29″ Photo: Paul Takeuchi

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October 18, 2018December 6, 2024, by Etty Yaniv

David Samuel Stern’s Portraits: The Mechanics of Longing

For photographer David Samuel Stern’s photography typically serves as a departure point for crafting tangible objects. In his Woven Portraits series for instance, Stern physically assembles pieces of his photographic portraits into new forms, aiming to fuse the notion of photographic representation with its own material nature, making a new essence. The imagery in this series may bring to mind Cubists’ and Futurists’ paintings, or David Hockney’s Polaroids, but in Stern’s hybrid artworks, the imagery derives from a photographer’s imagination and can be distinctly traced to our digital age – the manual counterpoints the virtual. Here Stern shares with Art Spiel some of his ideas, process, and projects.

Aaron; 2015; Photographic prints on archival translucent vellum, physically cut and woven together; 40 x 31 x ¼ in, 101.5 x 78.75 x 1.25 cm; Courtesy David Samuel Stern

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