Sunday, 8 October 2017

Personal Threads - Louise Bourgeois: An Unfolding Portrait, by Uma Nair, India, Guest Post



Louise Bourgeois, from her Fabric Book [Image Courtsey MOMA/Uma Nair]

“Clothing is...an exercise of memory...
It makes me explore the past...
how did I feel when I wore that..

                                 
                                                -  Louise Bourgeois
Louise Bourgeois, threads in a spidery format -
her favourite theme, [image sourced from internet]

MOMA will have a select retrospective of Louise Bourgeois opening at the end of this month [September 2017 – January 2018]. Among the many drawings sculptures and prints will be a fabric book created by her, which I saw as an exhibition in Washington DC in 1997.
Why do I a humble critic from India consider it a personal thread ?
The magic power of the Needle - Louise Bourgeois quote 1992, [image sourced from internet]
I read and researched about Bourgeois and realised that she held thread and needles as close to her as confidants. Bourgeois’ connection to fabric goes back to her childhood years when she helped out in her family’s tapestry restoration workshop. As an adult, she long associated the act of sewing with repairing on a symbolic level, as she attempted to fix the damage she caused in personal relationships. She even held a special regard for spools of thread and needles as tools -she considered important instruments in the service of man.
Louise Bourgeois - another fabric creation
 on her best known theme of spiders
[image sourced from internet]



Fabric became her ally-her medium of dreams and fantasies and her narrator-fabric became her sculptural element .In the 1990s, as she began to mine material from clothes accumulated over a lifetime. She hung old dresses, slips, and nightwear in installations, and then manipulated timeworn terry cloth into nearly life-size figures or eerie portrait-like heads.
Louise Bourgeois Pink Days and Blue Days. 1997.
Steel, fabric, bone, mixed media.
 Collection Whitney Museum of American Art
[image sourced from internet]

 In 1999, she hired a seamstress, Mercedes Katz, to help with this work and set her up in a workshop-like area on the lower level of her house, where she also installed two small printing presses. By 2000, Bourgeois had turned to printing on old handkerchiefs, and then other fabrics. She also constructed books of fabric collages.




Louise Bourgeois - Spider [image courtsey MOMA/Uma Nair]
Printing on fabric was a major preoccupation of Bourgeois’s later years and she highly valued her collaboration with Katz and the various printers with whom she worked. The greatest lesson in honesty came from her sharing the truth about her collaborations. The old fabrics  resonated with memories .She made use of technology, and  took advantage of digital possibilities for duplicating aging or fading effects. In contrast to her prints and books on paper, Bourgeois’s fabric works have a tactile presence that gives them a decidedly sculptural dimension. Delicacy of line and an intensity of poise and purpose define her fabric books. Of course her greatest work The Spider 1997  is a sublime collaboration of Steel, tapestry, wood, glass, fabric, rubber, silver, gold and bone .
Louise Bourgeois, Louise Bourgeois, Maman, 1999,
Steel, 35 ft in height, Tate Modern, London [image sourced from internet]
Her words stand as a symbolism for all ages. “The spider—why the spider? Because my best friend was my mother and she was deliberate, clever, patient, soothing, reasonable, dainty, subtle, indispensable, neat, and as useful as a spider.”
Louise Bourgeois
[image sourced from internet]
‘Louise Bourgeois: An Unfolding Portrait’ at MOMA, for architectural digest is currently on display  till January 2018. It explores the prints, books, and creative process of the celebrated sculptor Louise Bourgeois (1911–2010), whose extraordinary creative process is the organizing principle behind the exhibition, highlighting the themes constantly revisited in her art, all of which emerged from emotions she struggled with for a lifetime.Uma Nair has reviewed this exhibition for Architecural Digest.
Uma Nair is art critic of 30 years.  She considers multiple media, including textiles, as one of the greatest testimonies of art that can last a lifetime. In an India that has been invaded by western wear she still wears saris that go back 30 to 40 years. She writes as critic for Architectural Digest, The Hindu and Millennium Post, other than her own blog PlUMAge on Times of India.

Sunday, 10 September 2017

Personal Threads - Structure Me Not by Maggie Baxter, Australia, Guest Post

 

Maggie aged 7years,
wearing handknit
done by her mother
and or aunts
Quilting. Now there is a word that terrifies me, one I want to run away from. It is loaded like a gun to shoot me away from all pretensions of being a ‘serious’ artist into the murky lower depths of the craft circle with all its connotations of women’s work and the amateur.

slippage 2 - detail, Resist block printing
over dyed with organic natural dye on hand woven cotton
When Gopika suggested the concept of a narrative quilt, I thought ‘fabulous, great idea’ but quickly chickened out of the quilt and headed straight to the narrative. In a backward glance this meandering memoir, piecing together this and that, will investigate a little of why that is.
 
 
Cover of the book ’The Quilts of Gee’s Bend’
 
I am a fraud, that much you should know. Like all good feminist artists who work with textiles I have read The Subversive Stitch by Rozsika Parker, so I know that in Western countries, embroidery and all things stitched lost status from the middle ages when men and women worked together in guild workshops, until they were fully deemed women’s work in the 18th century. This fall from grace has never been restored. I have tut-tutted, shaken my head at this and probably had a little rant or two.
 
Quilt - detail  from the book, Irene Williams, c 1975
 
I check out art books all the time for inspiration. One I turn to, at least as much as if not more than any about painting or sculpture, is The Quilts of Gee’s Bend. If those quilts were painted they would be regarded as masterpieces of modernist abstraction - “geometric permutations of pure colour and form-bars and bands of colour offered up in bold confidence, intricate triangles playing visual eye games” . That they were born out of the repression of slavery using whatever their authors could lay their hands on makes their brilliance shine all the more. There is an unconscious immediacy about this work, and although the result is quite different the same can be said of traditional kantha quilts where soft, worn, aged saris are recycled into a new incarnation, the composition entirely at the behest of the maker.
 

'Slippage 1',
2.5 x 1 m, Direct block printing
 using organic natural dye on
hand woven cotton
But in the West, notwithstanding the small number of professional quilt artists who bravely set out to extend the parameters of the medium, most of my sisters in stitch spend hours and months patiently and carefully making quilts of pre-determined patterns from cheap cotton often pre-sorted into colour or themes (Christmas, landscape, Australiana etc etc). Yes, yes, I know it isn’t my business to comment, or wonder why, let alone pass judgement, especially if it gives them pleasure, but still I find it slightly depressing - like paint by numbers or embroidery kits. It seems that if the work is born of necessity and has to be the composition of the person doing it, there is a spirit so lacking in that which is pre-determined by others.
 
 
'Whole' - Maggie Baxter, Knitted
 
I can’t quite cross the line. See above, I have not called myself a textile artist but an artist who works with textiles. What a nit-pick! If I had stuck to my original intentions of sculpture, performance art and photography instead of being drawn by an irresistible, irrevocable, invisible karmic thread to Indian textiles, I wouldn’t have this dilemma. I am sure my friends in India, surrounded as they are by the ongoing splendour of their simultaneously ancient and modern - woven, printed, stitched and embroidered material culture, are just thinking ‘Whatever, but really, what is your problem?’
 
Teenage rebellion
 
'Slippage 2', 2.5 x 1m.
Detail, Resist block printing
 over dyed with
organic natural dye
on hand woven cotton
There was no quilting in our family or much sewing of any kind. I do have a small number of tray and tablecloths that my mother embroidered early in her marriage, but she didn’t maintain the enthusiasm. It was knitting that was the centre of our craft world. The hand knitted sweater and cardigan was epidemic in 1950’s and 1960’s England – the time and place of my childhood and adolescence. Someone could write a thesis on mid-20th century hand knitting just by going through our family photo albums. My mother and all my aunts knitted non-stop and with great skill. They could do complex cabling and multi-coloured patterns without even looking at the needles, watch television while they counted rows and stitches. Who, WHO, WHO would want to spend their life sitting at home knitting when there was a big wide world out there to explore my sixteen-year-old self, asked no one in particular - not ME I ungratefully muttered while putting in an order for whatever caught my fashion fancy on the knitting books that regularly arrived by post. And anyway, why bother to learn when someone else could already do it – and here I must digress for one moment to apologise to my mother on behalf of my teenage self.
 
Four elderly Scottish Aunts wearing hand knit sweaters and cardigans, cira 1960's
 
But did they all do it just for the love of knitting? To begin with, probably not but later probably yes.  I can only speculate because, taking it for granted, I never asked the question. They were very good at it, took pride in their skill but in the child rearing decades of post-World War II England it was an economic necessity. It was much cheaper to buy wool on the skein and knit than to buy a completed sweater. This hasn’t been the case for a long time and except for occasional brief revivals as ‘the new meditation’, hand knitting is well and truly in decline superseded by the ongoing barrage of quickly disposable machine made.
 
Sweater my mother, Phyl Baxter, knitted for me circa 1980
 
And when they weren’t knitting my female elders were neatly, carefully darning socks and old hand made sweaters. The throw-away society was on the horizon but in the mean time it was mend and make do. Not quite rafoogari but neat and functional nonetheless.
 
Sweater my mother, Phyl Baxter, knitted for me circa 1980, detail view
 
Then there was school – not that sewing or domestic science were major subjects, more a quick overview and then an option.  Retrospective note to long since deceased teachers (just in case you reincarnate into the same profession): if you want to engage the imagination of teenage girls do not start sewing lessons with three different ways to patch sheets. What you will end up is grubby bits of lacklustre tat that look like a dog chewed them. I am sure I am not alone from that class in saying I have never patched a sheet since.
 
'Uncurled 1',
Resist block printing overdid with organic natural dye
 on hand woven cotton. Pakko hand embroidery
 
I went to art school almost a decade later, chronologically somewhere between Punk and when the amputated asymmetry of Rei Kawakubo’s anti-aesthetic hit the catwalks of Paris and thereafter the world. Oh rip, tear and deconstruction, we were made for each other. I thought my lack of craft skills base had found its true calling without realising until I tried it just how skilful the apparent nihilist approach to cloth really was.
 
 
 
'Whole' - Maggie Baxter, Knitted
 
But disconcertingly I reverted to my origins. I knitted. First big soft sculptures Claes Oldenburg style before moving on to knitting plastic tubes, strips of fake fur, and even garden mesh. Then just as suddenly as the knitting fervour came upon me it went back into hibernation emerging once more in the 21st century as irregular lace-like textures achieved by dropping stitches, knitting into two or three stitches at a time and then randomly increasing them. Abstract knitting. I’m all over the place, just where I like to be.
 
'Drip', Maggie Baxter, Knitted
 
If I were going to consolidate the primary statement of my artwork – it would be line. My drawings (and therefore block printing, and use of stitch) are linear, calligraphic, scribbled. And strangely knitting is linear: It is the act of making a more solid cloth or garment by wrapping and knotting very long threads of fibre over two sticks. In my knitting, the thread never becomes solid, it loops and drapes into random circuitous lines. Some of these I have drawn again and turned into blocks ready for more randomness in the way they are placed on cloth.
 
'Drip', Maggie Baxter, Knitted, a detailed view
 
So, maybe there is another problem with quilting for me? It isn’t random. It is all about structure and building blocks. That is not say there can’t be randomness in the choice of colour or the way the blocks are built up, but still there does have to be some kind of geometry, forethought or plan in the layout. In quilting serendipity is pre-ordained no matter the oxymoron of that statement.
 
 
'Drift', Maggie Baxter, Knitted
 
I am having a personal, quiet little rebellion against structure. No more of in my life thank-you very much, I already have way too much. City Australia, which is here most of us live, is not the wild frontier of our myths and legends but an over regulated nanny state where we can’t even bicycle on a footpath to the local shop without a crash helmet. My working life coordinating public art in new buildings and public open spaces is a barrage of deadlines, timetables, minutes and reports even before we can get to the literal building blocks of the architecture into which the art is assimilating. So outside of that, in my own artwork allow me to indulge in the free form, be unprepared, totally intuitive, and let it roll out how it chooses to. I am just not sure I can do that with quilting.
 
'Drift', Maggie Baxter, Knitted
 


Maggie Baxter is an Australian artist, writer, curator, and public art coordinator.

References:
1. Parker, Rozsika. The Subversive Stitch: Embroidery and the Making of the Feminine. London, The Women’s Press. First published 1984, reprinted 1996.
2. William Arnett (Editor), The Quilts of Gee’s Bend.  John Bearldsley, Shelly Zegart, and Maude Southwell Wahlman (contributing editors), published by Tinwood Books, Atlanta, Georgia in assoc. with the Museum of Fine Arts, Houston, 2002.
3. Ibid. P.14


‘Personal Threads’ is about creating a narrative quilt, in an endeavour to read our histories as not something unconnected with each other or the past, which is personal and political, but to read our histories as the interconnected pieces of a quilt, assembled like bricolage. We may claim different nationalities and religions but the DNA of our lives is complex and far from unconnected. While the past has tremendous bearing,  the intention isn't to harp on it as a wail or dissent or blame, but to narrate this as a means to locate ourselves and who we are within its folds.
If you’d like to contribute to this project, drop me a line.

Friday, 11 August 2017

The Marks of Living Continue to Fascinate


I've been sorting through the stones and shells that I've collected - putting them together, mostly, according to their size. With the shells, the categories increase as there are broken bits, there are odds bits like oyster shells which seem like coagulated masses. I'm utterly enamoured of these 'darker' forms of the sea,  hoping to make them into pendants bringing out their salient features with silver filigree. Adding to my growing collection are also those shells which aren't quite shards but almost whole shells with the odd hole in them. I prize these the most from the current standpoint of wanting to sew/crotchet them onto fabric.
 


 
As I touch and feel each one and put them into their designate packets or transparent plastic containers, I marvel at the dents and marks, cracks and shards and pause to see just how perfect they seem with however their adventures through life has marked or shattered them. I can envision using all of them in some way. Nothing seems irrelevant. 
 

I'm often asked by people on the beach what I'm collecting. I say "anything I can find." The most usual response from them is "for an aquarium?" and I remain silent, wondering how could I ever explain that what I'm picking them up for,  is anything but the obvious aquarium. But yes, as a repository of life, mimicking the ocean of existence, I suppose it could be an aquarium of sorts. 
 

With the stones, no matter how small or large, the stoic acceptance of the weight they carry, becomes something to contemplate with regard to the weightiness of being that we, as humans, also carry.  Weathered by the tide, the wind and whatever other elemental experiences they may have passed through.  Do we manage this kind of acceptance? I cannot help but speculate, how on earth can one to muster such stoicism in the face of travails that have challenged and destroyed illusions of self? 
 
 
 
Then come the delicate, delightfully coloured and intricately patterned shells that appeal to the designer and pattern-maker in me. They are mostly separated parts of whole shells - the two almost identical faces that partner to create life, as they swim, tightly hugging each other, through the waves. The few little ones that I've found still intact, I've ventured to crack-open to discover that they're infertile - too young to have nurtured life. But, while all this charms, what I touch and feel and hold most carefully and thoughtfully, as each passes through my fingers, are the fragments that often don't even resemble shells. If I hadn't picked them off the sand I'd be hard-pressed to believe they were indeed shells. Despite being torn asunder thus, I've seen how they hold their ground - digging whatever is left of them into the sand, often more effectively than the stones. These fragments of broken rock pieces, that also people the beaches, are often well rounded but, mostly because of this, they inevitably tumble down, pulled back by the current, into the ocean, probably to be weathered even more. 


And it's the itsiest stones that I just love to collect. Occasionally if a friend comes along, and infected by my ardent fancy of all the rubble on the shore, starts picking up stuff for me. They exclaim "how can you even hold them, they're so small!" But, it's this smallness which I find evocative of diminishing egos that thrills me to hold - to catch their tiny, almost elusive forms, between my, comparatively giant-sized, index finger and thumb. They're adorable and sit together easily, no matter where I put them. They have an ease of belonging that's enviable. But, the process of getting there hurts like hell, doesn't it? 

 



Monday, 22 August 2016

Rendering With Needle and Thread - Guest Post by Richard McVetis [UK]



Richard_McVetis
Title - 29:59
Materials & technique - Hand stitch on wool / Straight stitch / insertion stitch
Dimensions - 6cm x 6cm x 6cm
2016


As an introvert and a perfectionist, embroidery is more than just about mark making but about taking control and slowing down parts of my day. It’s become a recharge point where I can collect my thoughts and take time out. It also allows for an intimate relationship with the work.  

Richard_McVetis
Title - Units of Time (detail)
Materials & technique - Hand stitch on wool / Seed stitch / Straight stitch / Insertion stitch
Dimensions - 6cm x 6cm x 6cm each cube / Total – 18cm x 20cm x 12cm
2015

















The introduction to embroidery was an accident. It was a visit to the open day of an Embroidery degree at Manchester Metropolitan University that really opened my mind to the broad sense of embroidery as medium for expression. What attracted me to this place was the chance to learn one of world’s oldest crafts whilst exploiting the contemporary possibilities of this medium at the same time. The diversity and exploration of the medium was liberating. 


Richard_McVetis
Title – Light Abstraction Mid-East
Materials & technique - Hand stitch on wool / Seed stitch
Dimensions - 47cm x 47cm
2015


My need to explore I think stems from my childhood and the things I was able to experience and see. In 1982 my parents immigrated to South Africa, and the following year I was born. As a white child in apartheid South Africa everything was normal and I knew no other way of life, in reflection it’s hard to believe that we were part of that system. Since leaving in 1992 I have always tried to ask questions, to not except the normal and through art understand my purpose. This has given rise to many opportunities to live in different countries, Iceland, Norway and Spain to name a few. All of which have contributed to my outlook, inclusivity and aesthetic.  
 

Richard_McVetis
Title – Proportions of a Male Figure (detail )
Materials & technique - Hand stitch on wool
Dimensions – 53cm x 70cm
2011


My artistic practice centres on my training as an embroiderer through the use of traditional hand stitch techniques and mark making. Laboured and meticulously worked wools, multiples of embroidered dots and crosses explore the similarities between pen on paper and thread on fabric. I use a limited vocabulary of mark making and deliberately subdue the colour to create a binary simplicity.

After Manchester I then headed to The Royal College of Art to do an MA in Textiles. My tutor was artist Freddie Robins. She was supportive and allowed us to discover our own paths; challenging me to think about my own practice. I was fortunate to have great tutors at the RCA and Manchester. All of who still provide me with inspiration and motivation to pursue a life in art. My time at the RCA was a challenge but so valuable and enjoyable, I was able to explore the scale of my work and think more about my use materials.  
  

Richard_McVetis
Title - Light Abstraction NYC
Materials &technique - Hand stitch on wool / Seed stitch
Dimensions – 47cm x 47cm
2015
 






















As a child the medium I had most access to, was pen and paper. I would create entire worlds on the back pages of my school exercise book, building and destroying futuristic cities with a black ballpoint pen. The miniature scale of these worlds I created is a key element in the understanding and organising of space that I have now. I found this method of drawing with black ink to be very satisfying and my interest in this continued right through to high school and college. One inspiring book I remember particularly well and one to which I refer to on many occasions is Van Nostrands ‘Manual of Rendering With Pen and Ink’. I loved the idea that with pen and ink you were able to explore and create different subtleties in texture and materials. 
 

Richard_McVetis
Title - 29:59
Materials & technique - Hand stitch on wool / Straight stitch / insertion stitch
Dimensions - 6cm x 6cm x 6cm
2016
 






















Embroidery for me has become an extension of this exploration of surface through rendering.  Substituting the ink for thread and the paper for fabric.  The subtle dimension of stitch continues to fascinate me. When I’m stitching I’m endeavoring to recreate the flatness of pen on paper. 
 

Richard_McVetis
Title - Units of Time
Materials & technique - Hand stitch on wool / Seed stitch / Straight stitch / Insertion stitch
Dimensions – 6cm x 6cm x 6cm each cube / Total – 18cm x 20cm x 12cm
2015
 

















Today, my work reflects a preoccupation with process and its ritualistic, repetitive nature exploring the subtle differences that emerge within the repetition process. In addition, mapping out space, marking time and form are central themes. My most recent series of work ‘Units of Time’ is an enquiry into the way time and place are felt, experienced and constructed. Ideas are often developed in response to, or created specific to a moment, visualising and making time a tactile and tangible object. The pieces created explore how objects, materials and places through the action of hands bear witness to the passing of time.
 

Richard_McVetis
Title – My Grey Pencil Case
Materials & technique - Hand stitch on canvas
Dimensions – 22cm x 39cm
2008




















This dimension of time within textiles is also evident in earlier works ‘My Grey Pencil Case’ traces the movement of my body over a period of a few years, unpicking the seams of the pencil case to reveal a drawing on the inner surface, pens and pencils secretly recording the rhythms of daily life. ‘Five o’clock Shadow’ is a more obvious record of a specific moment, capturing the shadow of my partner on a sunny parquet floor in Madrid. The title also references the invisibility of time, revealed only through the processes of our bodies.
 

Richard_McVetis
Title – Five o’clock shadow
Materials & technique - Hand stitch on wool / Straight stitch
Dimensions – 19cm x 19cm
2013






















Many of the patterns that inspire me happen to be the ones that are very rarely noticed. These patterns are part of your everyday, a place you pass routinely, the metal tread of a station entrance or the shadow created by the morning sun light. Taking notice of these, removing them from their context, elevating the mundane to a higher status. London, the city I now live in, is full of these moments, beautiful and unnoticed. These moments are punctuations of time; slowing me down in what it quite a fast paced way of life. Through embroidery I try to capture these moments. The embroidered cubes, the compositions, constellations and arrangements that I create, directly reference the urban grid and my transient relationship to the built-up environment. 
 

Richard_McVetis
Title - Units of Time - Formation II
Materials & technique - Hand stitch on wool
Dimensions - 6cm x 6cm x 6cm each cube
2015

This year sees further exploration of my embroidered cubes. I’m excited by their architectural characteristics and the possibilities they have to affect a large space. When grouped and arranged in constellations the cubes take on a whole new dimension.  To explore this further I have begun work on my most ambitious piece of work that I will present next year at Collect 2017: The International Art Fair for Contemporary Objects as part of the Collect Open in partnership with the Crafts Council. This piece draws inspiration from the work of artist Sol Lewitt and the systems we employ to measure time. My aim for this new work is to show time and form as both logical and playful, as an ever-present invisible force. This work also demonstrates my continuing obsessive drive to make.



Richard McVetis is a British artist-maker, known for his meticulously embroidered drawings and objects. Since his training in the traditional process of embroidery at The Royal College of Art, he has been exploring his pre-occupation with process and its ritualistic and repetitive nature for over ten years.

Richard is based at Kingsgate Workshops, West Hampstead, London. His work has been exhibited across the UK, North America, France, Ukraine and Korea.

More of his work can be seen on his website: http://www.richardmcvetis.co.uk/