weaving

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Craft Design

Floral Wreaths Blossom Into Bold Type

October 22, 2018

Anna Marks

In designer Olga Prinku’s floral wreaths, hundreds of dried plants and flowers are sewn into the shape of large capital letters. Flower heads spring out of the tulle as if magically sprouting from planted seeds Prinku had scattered weeks before. Although a graphic designer by trade, her project has sparked a love affair with weaving and craft, and encouraged her to experiment with several different mediums. 

“This particular technique of weaving flowers on tulle actually came to me in a dream,” Prinku tells Colossal. At first she began placing dried flowers on a sieve, which resembled the net structure of tulle. Once she began using the new medium, she looked to her garden for fresh flowers. She initially used fresh flowers for her works, but the natural objects began to shrink as they dried, which left gaps in her designs. 

“Now I use dry flowers,” she explains. “Some I buy readily dried, and some I pick from fresh and dry myself using silica gel. I also collect seed pods at the end of the season, which I use as they are.”  Prinku alters what flowers and plants she uses depending on the season. “I’m still learning a lot through experimenting about what flowers are the best – I’m basically looking for ones that are good at holding their color when dry and that have thin stems that I can use on the tulle.”

Prinku’s artistic process has fostered her appreciation of beauty and intricate details that exist in nature. “I’ve become much more observant about the plants that are growing all around where I live, and that fuels my creativity too,” she says. To learn more about Prinku’s work visit her website and her Instagram.

 

 



Art Craft

Massive Circular Weavings by Tammy Kanat Combine Intuitive Pattern-Making and Natural Fibers

July 10, 2018

Laura Staugaitis

“Young Heart” (2018), wool, linen, silk, mohair, fibers and copper frame, 120 x 80 cm. All photographs by Emily Weaving, courtesy of the artist

Australian fiber artist Tammy Kanat uses unique combinations of richly textured fabrics and materials to form large-scale abstract wall weavings. The former jewelry designer began weaving in 2011, when she trained at the Australian Tapestry Workshop. Using an organically shaped ovoid metal frame, Kanat works in colorful natural materials like wool, mohair, silk, hemp, and jute to create her sculptural pieces. You can see more of creations on the artist’s Instagram. (via My Modern Met)

“Blue Topaz” (2017), wool, linen, silk, fibers, and copper frame, 100cm diameter

“Circle of Color” (2017), wool, linen, silk, fibers, and copper frame, 100cm diameter

“Brave Heart” (2018), wool, linen, silk, fibers, and copper frame, 150 x 210 cm

“Destiny” (2017), tapestry wool and copper frame, 100cm diameter

“Pattern Play” (2018), wool, linen, silk fibers, and copper frame, 100cm diameter

“Wilderness” (2018), wool, linen, silk, fibers, and copper frame, 150cm diameter

 

 



Art

New Plant-Based Embroidery and Interconnected Baskets by Ana Teresa Barboza

January 23, 2018

Kate Sierzputowski

Peruvian artist Ana Teresa Barboza has previously been drawn to recreating full landscapes with yarn and thread, embroidering large tapestries with rivers, valleys, and waves that spill out from the wall and rest on the floor. Barboza continues her exploration of installation-based tapestry with a new body of work that charts the growth of individual plants, while also expanding her practice into weaving with a new work of interconnected baskets.

Her series Increase charts a plant’s shadow for 15 days, steadily tracing its growth and movement over the two week time space. Balls of yarn lay at the foot of each tapestry, providing a visualization of the diminishing material as it is slowly added to the changing portrait. The colorful embroidery provides a charged glow around the white space of the original plant, its increasing mass illustrated in a collage of jagged shapes and vibrant hues.

Barboza’s new work United Baskets, retreats from color altogether, instead focusing on process and shape. The piece is a collection of seven interconnected baskets, which took the artist 30 days to weave from bundles of Huacho reed. The series of vessels vary in size and position, yet are each seamlessly linked throughout the full 10 by 10 foot composition.

Although Barboza now works with textiles, she previously studied painting at Lima’s Pontifical Catholic University. You can see more of her embroidered and woven installations on her website here.

 

 



Craft Design

An Oversized Woven Chair by Veega Tankun

December 19, 2016

Christopher Jobson

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Although London-based designer Veega Tankun has only just graduated from the University of Brighton, she clearly possesses a strong sense of aesthetic and understanding of materials as evidenced in these comfy looking chairs woven from overstuffed knit tubes. Tankun says that she’s fascinated with rejuvenating old techniques in her design practice, bringing modern materials and color palettes to traditional production methods. “Traditional doesn’t always have to mean old and outdated, the trick is to make something that we know new and exciting again,” she shares.

This chunky chair is just one Tankun’s latest creations, you can explore more of her work on Design Milk and Instagram. Some of her pieces will also be on view at London’s Top Drawer starting next month.

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Art Photography

Photographic Images That Weave Moments in Time by Jason Chen

April 25, 2016

Kate Sierzputowski

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Detail of “K,” hand-woven archival inkjet print, 22.75in x 28.75, all images via Paradigm Gallery + Studio, Philadelphia

Moving beyond traditionally static methods of portraiture, Jason Chen creates movement through the weaving of multiple images into one. Chen’s works use separate images of the same subject to explore mutation and time, offering a more fluid peek into his subject’s emotional state. When glanced at from afar the images appear quite singular, but when zoomed in the disparate details of the images stand out—multiple eyes occupying the same face like seen in Chen’s haunting G-iii.

This is a relatively new method for the Philadelphia-based photographer who had been previously focused on dry plate tintypes. Chen is the co-founder of Paradigm Gallery + Studio where he is currently included in the group exhibition “Portrait”  through June 18th. (via Hi Fructose)

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“K,” hand-woven archival inkjet print, 22.75in x 28.75

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“Ian” (2016), archival pigment print, hand cut and woven, 24”h x 36”w

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“Jessica” (2016), archival pigment print, hand cut and woven, 24”h x 36” w

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Detail of “Jessica” (2016), archival pigment print, hand cut and woven, 24”h x 36” w

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“C,” hand-woven archival inkjet print, 9in x 11in

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“G-iii,” hand-woven archival inkjet print, 22.75in x 28.75

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Detail of “G-iii,” hand-woven archival inkjet print, 22.75in x 28.75

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“G-ii,” hand-woven archival inkjet print, 20.5in x 20.5in

 

 



Photography

Photographs Made from Woven Film Strips by Seung Hoon Park

February 6, 2014

Christopher Jobson

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Part collage, part photography, part tapestry, these fragmented interpretations of iconic buildings and landmarks by Seung Hoon Park (previously) are truly something to ponder over. Each image begins with 8mm or 16mm camera film strips which he lays down in rows to create a larger surface that effectively acts as a single piece of film. Park then exposes two images in a large format 8×10″ camera using sets of vertical and horizontal strips which are woven together to create a final print. The photographer has traveled to locations around the world including Rome, Milan, Venice and Prague to shoot images for this ongoing series titled Textus. Several limited edition prints are available through Susan Spiritus Gallery.

 

 



Art Photography

Seung Hoon Park’s Woven Photography

August 25, 2011

Christopher Jobson


(click for detail)

New works from South Korean photographer Seung Hoon Park as part of his ongoing series TEXTUS. Park uses a process to overlay or weave together film strips, however this appears to be a single print, so I’m unsure of how he’s making these. My assumption is that it’s not digital, but I could be wrong. Anybody venture a guess of how these are made? See more of his work at Sarah Lee Artworks

 

 

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