A new book by Charlotte Vannier considers how embroidery has evolved from a domestic task mostly done by women into an art. Comprised of the work of 84 contemporary artists from around the world—including Elisabeth Bucht, Rossana Taormina, Diane Meyer, and Aline Brant—From Thread to Needle: Contemporary Embroidery Art features full-page illustrations of embroidered pieces utilizing cotton canvas, photographs, plastic, and wire mesh. The 368-page book highlights work that is particularly distant from the decorative needlework of previous generations and ranges from fully embroidered cloth to sparingly stitched images to threaded toast. Often, the artists reinvent the craft by altering the methods and materials they use and rejecting the outdated notion that embroidery is only a feminine past time.
In an interview with VC Projects, Vannier described her obsession with thread and embroidery. “I am fascinated by the idea that a simple thread becomes a piece of art completely, and how many artists use it. Thread is like a pencil,” the writer says.
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Artist Diane Meyer has spent the last several years meditating on the Berlin Wall and the physical and visual divisions between, and within, cultures. In her series Berlin, Meyer embroiders 43 photographs with meticulous stitches that overlay pedestrians, walls, and forests. Each embroidered area represents the former wall, which would have bisected or blocked the views now seen in Meyer’s photographs.
The project is part of Meyer’s broader practice of “combining a traditional, analogue process with the visual language of digital imaging,” the artist tells Colossal. “At one point, I was experimenting with large landscape images using thousands of little tiny squares of carpet remnants which functioned as pixels. I think these early experiments ultimately led me to the work that I am doing now.” Meyer explains that for the Berlin series, she sought to evoke how the wall continues to exude a felt presence in the city, despite having been removed decades ago.
I started thinking about the relationship between forgetting and digital file corruption, particularly given how photographs are strongly tied to and ultimately often replace memory. By re-inserting the Berlin Wall through embroidery, a pixelated view of what is behind the wall is seen, creating the effect of an almost ghost-like trace in the landscape.
Meyer shares with Colossal that the materials of her artistic practice have evolved over time, shifting from straight photography to more multimedia approaches, but that she has consistently returned to some core concepts. “My work has long been defined by explorations into the physical, social, and psychological qualities that characterize place,” says Meyer, shifting genre and medium depending on the conceptual framework she is working within.
Her current undertaking is Reunion, a series of elementary school class pictures from the 1970s, which Meyer explains is an outgrowth of a previous project centered around family photographs. With Reunion, the artist seeks to focus on body language by obscuring the normal focal point of facial features with stitched interventions. “I am interested in exploring these details to reveal not only the relationships between the various figures, but also how, even at a very young age, children were taught and instructed to pose in particular ways, often based on gender,” Meyer tells Colossal.
Marking 30 years since the fall of the wall, Berlin is on view through January 10, 2020, at Klompching Gallery in Brooklyn, New York. See more of Meyer’s current work on Instagram and explore the artist’s archive on her website. (via This Isn’t Happiness)
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120,000 Ribbons Wave Across the Former Footprint of the Berlin Wall in an Installation Marking 30 Years Since the Peaceful Revolution
On November 9, 1989, German officials decided to allow residents of Communist East Germany to cross over and visit the Western, democratic half of the divided country. Though the complex process of physically and ideologically reunifying the country took about a year in total, November 9th is considered a landmark day. To celebrate 30 years since the Berlin Wall began to break down, artist Patrick Shearn (previously) was commissioned to create a large-scale installation that integrated the reflections and hopes of 30,000 people.
Visions in Motion was on view November 4th through 10th in front of Berlin’s Brandenburg Gate, a location that had previously been a demarcation of division. A statement from Poetic Kinetics explained, “the artwork’s rectangular shape conjures the form of the wall; but instead of a heavy, impenetrable border, the form takes flight.” The massive installation spanned 20,000 square feet and was comprised of 120,000 fabric streamers, a quarter of which featured hand-written messages that were collected in the months leading up to the display.
Shearn is a resident of Los Angeles, Berlin’s sister city, and is renowned for his large-scale kinetic installations, which he calls “Skynets”. Tying the German installation to its sister city, the Los Angeles-area Wende Museum, which houses Cold War artifacts, invited Los Angelenos to contribute messages to Visions in Motion as well.
Shearn and his team at Poetic Kinetics are prolific creators. You can explore much more of their archive on the Poetic Kinetics website, and follow them on Instagram to keep up with their latest projects around the world.
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Li Songsong uses dramatic textural repetition to create portraiture and landscapes in his large-scale oil paintings. The Chinese artist often centers visual narratives around historical events of the 20th century, working from found photographs and news images. In some instances, the story becomes more personal, as in “Civil Rather Than Military”, which depicts Songsong’s grandfather. In a statement about the work provided by Pace Gallery, Songsong shared:
I started this painting a month after my grandfather passed away. It’s from a photograph of him that I think was taken in the early1960s, when he was about my current age. I know what kind of person he was, but not until this year was I really willing to think deeply about him. I used a technique in which it is nearly impossible to paint delicate details, but in the end, the work still ended up with lots of expressive detail and an almost idealized quality, as if from a fairy-tale.
In both his intimate and anonymous paintings, Songsong balances content with process, employing tactile techniques that obscure the subject and emphasize the painting as an object or artifact in and of itself. Take a closer look at Songsong’s work in his solo show “One of My Ancestors”, on view through December 21, 2019 at Pace Gallery in New York City. You can also explore more of the artist’s work on the gallery’s website.
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Celestial Illustrations by Diana Sudyka Fill a New Book Celebrating 19th Century Astronomer Maria Mitchell
A new book written by Hayley Barrett and illustrated by Diana Sudyka (previously) celebrates the life of pioneering 19th century astronomer Maria Mitchell. Mitchell was America’s first professional female astronomer and taught at Vassar College (which was a women’s college at the time). She also used her platform as an internationally renowned scientist to advance women’s rights and abolition. What Miss Mitchell Saw tells the story of Mitchell’s life, geared toward young readers with lush, star-filled illustrations that intermingle celestial shapes and patterns throughout the story’s earthbound elements.
“I immediately was struck by the beauty of Barrett’s writing, and her deep respect for Maria Mitchell was very apparent,” illustrator Diana Sudyka tells Colossal. “It was also important to me is as a manuscript about the power of observation, and a woman in science at a time when there were very few, and even less being recognized for their contributions.” The artist shares that she didn’t know much about Mitchell at the start of the project, but learned through research how Nantucket whaling culture and the Quaker faith shaped Mitchell’s character and point of view.
Sudyka used india ink, gouache, watercolor, and handmade indigo to build the imagery for What Miss Mitchell Saw. The artist works by hand and in full color from the get-go, and uses some digital techniques at the end of the editing process, once the images are ready to be integrated into the book. To complement the artist’s established aesthetic, which naturally meshed with the storyline, Sudyka tells Colossal that she drew inspiration from scrimshaw (decorative and narrative carvings into whale bones by whalers), as well as Rockwell Kent’s illustrations for an edition of Moby Dick. “The biggest challenge for working on this book was simply finding good reference material to make sure I got the look and feel of Nantucket and that time period right,” Sudyka explains.
In addition to her work as a children’s book illustrator, Sudyka has volunteered at the Field Museum of Natural History’s bird lab for over a decade, and is drawn to science and natural history. You can see more of the artist’s work on Instagram and find prints in her online store. What Miss Mitchell Saw was published last month by Simon and Shuster, and is available on Amazon.
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In the northeast corner of North Dakota lies Devils Lake. It is the largest natural body of water in the state, and yet it holds within it a seemingly unnatural phenomenon. Once-prosperous farming communities used to stand where the lake now is, the reach and depth of the current waters subsuming the abandoned tall silos, stately houses, and squat barns. The lake began rising in 1993 and has risen 35 feet in just over two decades. Due to a lack of outlet for the water and a period of heavy rains in the early 1990’s, the high water simply never subsided, rendering the formerly productive area completely uninhabitable and taking 300 homes with it.
Minnesota-based photographer Paul Johnson (previously) set out during two different seasons, summer (via kayak) and winter, to witness and document the lost community. Large trucks sit embedded up to their wheel wells in thick ice, a silo door is seamlessly mirrored in the water that reaches over its threshold, and barns lean at spectacularly acute angles, seemingly glued in place by the surrounded fresh or frozen water.
“Abandoned places hold a wistful appeal to me and I think to many of us,” Johnson shared in an interview with Passion Passport. “They are the final chapters of unknown stories where we’re left to ponder the details. Their quiet stillness can spur thoughts about the nature of time and the processes of decay and reclamation.” If you are interested in further reading about the history of the area, Modern Farmer has a long-form story from the perspective of a Devils Lake native.
In addition to his still photography, Johnson is continuing to work on animated land art which will be compiled into an upcoming short film. Stay tuned for previews of these pieces on Instagram and Tumblr. (via This Isn’t Happiness)
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Each rope that suspended San Francisco’s iconic Golden Gate Bridge from 1935 to the 1970s was made of 229 individual strands arranged in a unique “lay” created at John A. Roeblin’s Sons Company in Trenton, New Jersey. Though these suspender ropes were retired about fifty years ago, the history and strength imbued in them lives on. Strands of History, a Tahoe City, California-based company founded in 2016, focuses on building functional items using the bridge’s original ropes, including a spectacular wood and steel coffee table.
Mary Zimmerman of the Strands of History team explains to Colossal that the company was able to verify the rope’s authenticity by reviewing the original schematics from the Roebling’s company. Every suspension bridge has ropes with a unique lay, which create a sort of finger print for the bridge’s materials.
Once a sufficient supply was in the hands of Strands of History, the company got to work determining a way to showcase the strength, beauty, and history of their chosen material. The incredibly strong rope weighs one pound per inch, and is so dense that only five cuts can be made before a fresh 14-inch abrasive blade is required. Strands of History brought in experts from Bushey Ironworks and Roundwood Furniture to help design the coffee table and wrangle the finicky raw materials. Bushey weighed in with forge welding techniques to stabilize the ropes, and Roundwood suggested a deeply striated Claro walnut wood that is about 80 years old.
In creating something new out of such storied materials, Zimmerman explains, “All of us that work on these projects are committed to the preservation of this historic steel. This required exploring various techniques to maintain [the rope’s] structural integrity, as well as to preserve the unique lay of the wire and its inherent beauty and attraction.”
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