Artistry in Fiber Vol II
The second volume of Artistry in Fiber examines the work of 78 artists some who have worked with materials traditionally used in sculpture and others with a fiber art background. The oomph of this second tome is the experimentation and the borrowing of materials from both scuptural and fiber art with extraordinary and amazing results.
In her intoduction, Adrienne Sloane writes, “Although the modern field of fiber art derives from rich and diverse historical roots, it is intriguing to consider inclusive the current definition of fiber has become one applied to contemporary art work included here speaks to widely recognized textile traditions such as sewing, knitting, knotting, weaving and basketry. Many of these same techniques are used in uncommon ways executed in nontraditional materials that defy usual textile categories, however. Work in wood, paper, metal, glass, or fiberglass roving may reference textiles and technique though not in material.”
Below is a sampling of the artists featured who have have worked in both sculpture and fiber mediums.
Susan Taber Avila’s work bridges many disciplines. She writes,” I explore new methods and materials to not only develop new textile structures but to interlock meaning within the structure playing on the familiarity of textiles to impart conceptual ideas.” Her shoe series examines the meaning of shoes, the stereotypes associated with them. Susan uses embroidery and stitching to join the pieces, and incorporates printed imagery, recycled fabrics, and PVA to create new structures.
Scottish artist Georgia Crook combines a number of techniques and materials typically associated with traditional craft. For her pieces, she includes wood, metal, clay or paper and materials from her natuyral environment. Junk measuring 78.7” x 58.8” x 17.6” consists of willow, Penang chart, waxed papers and linen. She writes of her work, “My work varies from year to year, but I am currently specialising in the use of combined paper and willow. The willow is grown locally and organically; the papers are mostly fine/hand made papers which are then waxed/treated/embelished by me, unless I make the paper myself.”
Desribing herself as “sculptural basket maker” Emily Dvorin examines contemporary interpretation of basketry. “My use of repurposed, re-contextualized materials is a commentary on overconsumption of commercial goods, societal excess, and thraway consumerism.. My references everyday life and our relationship with our urban environment. I use the vessel form with an emotional and personal vocabulary to speak about life’s issues.” Her vessel My Universe (43” x 23”x 25”, 2013) Materials include ordinary items such as a tomato cage, fabric, plastic, zippers, pencils, needlepoint canvas, buttons and cable ties.
Like its predecessor, Artistry in Fiber Vol. 2, provides a stunning collection of the work of innovative artists that reflects how traditional craft techniques can be combined, resulting in a reinterpreted art form.