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United States
Installation, Textile on Soft (Yarn, Cotton, Fabric)
Size: 16 W x 16 H x 0.5 D in
Ships in a Box
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Artist featured in a collection
Thread and wool drawing Media: Thread, hand-dyed Shetland & Angora wools, silk This textile drawing utilizes a sewing machine as a drawing tool to create a thread work that incorporates a thin layer of silk and natural, as well as hand-dyed, Shetland wool from the artist's family farm. This approach reflects a contemporary melding of Midwestern regionalism by combining historical and modern textile practices. Through the use of wool from her rural farm, these works become acts of labor not only of the artist, but of multiple generations that have cared for the animals and have passed on knowledge of how to prepare and work with wool fibers. Thus, this style of work includes a true cradle-to-grave material and process, rare in our modern age. The imagery references the memories and environment of the artist's rural upbringing in Missouri. The series, "Memory Stratum" deals with the sometimes unwieldy nature of memory, including gaps in memory or false memories. In the case of "I Named Him Skylar," the artist focuses on an early fact from her childhood, while still acknowledging the patchwork nature of memory. Actual textile dimension is 14" x 14", mounted on 16" x 16" linen-wrapped foam core. Framed dimensions are 19.25 x 19.25" on white beveled frame.
Installation:Textile on Soft (Yarn, Cotton, Fabric)
Original:One-of-a-kind Artwork
Size:16 W x 16 H x 0.5 D in
Frame:White
Ready to Hang:Not applicable
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:United States.
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United States
My lace sculpture is an act in seeking balance, of repeatedly introducing contradiction and opposition to show that a harmonious equilibrium is possible. Combining the flowing, inherently feminine lace with hard, industrial man-made resin alters the inherent quality of each material. Each goes through a process of loss and gain. The result is a dimensional expression of politically-soiled notion of compromise. Here, balance creates porous solidity, frozen fluidity, a three-dimensional canvas. I consider my all my work to be works in lace, and in lace, I see more than kitsch doilies or superficial decoration. Lace represents countless individual threads intertwined to create interdependent networks with the nuance of connection shaping endless possibilities of pattern. As broad as this cultural metaphor might be, lace also represents the intimate and delicate, as well as the domestic and historic traditions in handcraft. I am influenced by the passing down of handcraft from one generation to another, while also striving to re-contextualize traditional craft. In my sculpture, this contextualization occurs primarily through the lens of science and mathematics. These influences can be reflected within bodies of work in ways that utilize the design principles of origami, invisibly physical forces such as gravity, or the way that a single simple curve can transmute a formless plane into mathematically complex geometry. My work has always been grounded in this nature of dichotomy and the oscillating exchange that occurs by combining dissimilar media and processes is an expression of the desire for and in search of balance in body, mind, and action.
Artist featured by Saatchi Art in a collection
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