Beverly Semmes

Lenore Tawney

The Crossing, 1998, waxed linen, 96 x 48 x 24"

Tau, 1974, linen, 6 2/3 x 9 feet

"I become timeless when I work with fiber. Each line, each knot is a prayer..."

"Throughout the work, Tawney's intention is the same -- to represent what is not seen , to express the essence. Frequently, she does this through the use of basic, universal symbols such as the circle within the square (representing the unity of self) or the cross (representing the meeting of opposites and the point at which linear and eternal time meet). The surfaces of ["Tau" and "In Fields of Light"] are interrupted only by slits in the tapestry that reinforce their strong geometry, and form and color are distilled to their essence. On this scale, the viewer is literally enveloped 'in fields of light.'" Kathleen Nugent Mangan, from the catalogue for Tawney's Exhibit at the Stedelijk Musuem, Amsterdam, 1996

"I'm following the path of the heart." Tawney says, "I don't know where the path is going."

Teruyoshi Yoshida

Teruyoshi Yoshida
Surface of the Lake
Cotton cloth, gold leaf, iron
1985

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Sensual Material

Sensual Material

by Cynthia Atwood

In my studio I am motivated by attraction to materials and the pleasure I take in handling them. I make objects that confront my body and the body of my viewer with sensuous humor and some provocation. I am interested in the unrecognizable, the repressed. What is beyond our immediate reality? What is the mystery of our associative, psychological state in regards to our perception of what is underneath our skin? Often there are details of clothing in my work, zippers, piping, button holes, referring to the fashion we cover ourselves with, our facade. My work is an exaggerated reference to the body. It reflects the paradox of intelligence opposing bestiality, the body couture. Our facade is an obsession. The materiality, sensuality, and labor invested in my work are expressions of the body.

Fabric is malleable. I can push it together, or stretch it, it “grows”. The urge toward the visceral is a desire for vitality expressed through the handling of my materials. The diligence of needlework brings materials alive, stitch by stitch.The way materials attract me, (again the Eros principle), is very important. Texture, sheen, sense of hand and color are all key. I want to touch them.These are materials that are easily available and possible for me to work in my studio. I learned to sew when I was 9 and this skill is integrated into my life. Ina time when artists send their work out to artisans, I am still attached to making my own work. Many viewers who begin by appreciating only my craft, will find it to be their entrance into the work.

Karla Black

‘a material experience that has been prioritized over language'

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Mona Hatoum

"Keffieh," human hair on cotton, 1993-1999,

collection Peter Norton, Santa Monica

The Body 'Van Gogh’s Back'

1995, photograph on paper, 600 x 403 mm

Ana Mario Hernando

'La Montana' (installation), 2009, MCA Denver

Random acts of kindness

Ana Maria Hernando's textiles investigate the transparent acts of humanity that hold our lives and communities together

'I find transparent acts everywhere. My most pressing image would be that of women embroidering tablecloths, washing, ironing. Later these embroidered beauties are stained, and covered with food. Hours of work have become the background. these acts of transparent love that makes no sense, and have no place in accounting books, inspire me.'

- Jessica Hemmings

Taken from Embroidery January/February 2010 issue