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Curated by Myra Goodall Block
Braunstein/Quay
Gallery
What propels an artist to manipulate threads, transform tiny pliable strands into a personal statement of social concern? Fiber Art, the chosen language of the artists in this exhibition, carries with it an involved social history that allows the artist to communicate through familiar associations and materials. The viewer begins his understanding with comfortable reference points. These ten artists use Fiber both openly and subversively to seduce and engage us, juxtaposing the sensual beauty of texture and form with layered social content. The ensuing dialogue--on issues of domesticity and environment, spirituality and isolation, language and immigration, oppression and violence--demands our total, even sensory, involvement. The tension thus created in these visual renderings speaks of the complications/lamentations of modern society, and brings us to a space where we are forced to confront both the luxuries of such a culture and the price we pay for them. Myra Goodall Block Linda Hutchin's work involves the existential questioning of permanence and constraint versus spiritual freedom. What exactly is the role (roll) of bread -- religious, nourishment, cultural fairytales? Can wire restrain it? Does a plastic "caution" tape physically limit us? In her mixed-media installations, Hutchins demonstrates with humor how everyday objects (including that lamentable symbol of our violent society) are lifted into the realm of fine art. She not only challenges the boundaries which society draws for us, but also the assumptions of her own tapestry medium. Confrontational, yes, and always contrasting futility with hope. Karen Hampton continues the stories of generations in her beautifully woven and embroidered pieces. Thread is her messenger; the struggle of African-American women is the message. Hampton's voice, full of emotion, reveals the depth of her commitment as she rips her weavings, or stitches onto family heirloom linen to assure our complete attention. In this way, she keeps history (her/story) alive and vital. (See more of her work in our Gallery archives, "Bay Area Graduate Show, MFA 2000".) Susan Taber Avila's art " describes a world which balances security with vulnerability. I create sculptural forms to investigate issues of containment; the inside/outside duality of the work allows me to play with the contradiction of accessible and inaccessible spaces. My work invites the viewer into the piece while at the same time, deliberately prevents (him/her) from understanding the mystery of the entire form." Here thread is structure, but the complex stitching process allows for hidden surprises. We search for what is real. (Find more of Avila's work on her Artist Page.) Akemi Nakano Cohn struggles with two cultures as she states, "There is a tension between the Eastern values with which I was raised and Western values to which I am adjusting at present." This tension is clearly present in her complex imagery and contemporary color palates that contrast with her adherence to traditional Japanese dyeing methods, especially the Nassen paste resist techniques. Her multi-layered constructs mirror the depth of her personal experience. (See more of Cohn's work in our Gallery archives, "Interpreting Japanese Aesthetics". Technology and tradition collide as the computer-aided loom is forced to reckon with the spirituality of Emily DuBois' ikat weavings. Finding inspiration in the rational elements of nature, in Tai Chi and meditation, she creates images of tranquility both in her textiles and her ethnographic bark-cloth work. With great skill and determination, she guides our path away from society's tumult. (Find more of DuBois' work on her Artist Page) A lawyer a China, Faye Zhang immigrated to San Francisco where she gave birth to both baby and new career! The tremendous energy and vibrant colors of her complex pattern structures underline the calligraphic marks used to glorify the diversity of cultures and written languages. The beauty of the work honors her skill as a weaver. (See more of Zhang's work in our Gallery archives, "Bay Area Graduate Show, MFA 2000".) Kyoung Ae Cho, a South Korean artist, brings nature's life cycle to view through her powerful organic sculptures and quilt-like assemblages. Clearly inspired by the beauty of the process itself, she decorates the surface with materials taken from nature, such as pine needles and bark. But then she reworks them to address her concern with human intervention--the natural rhythm and geometry of Mother Nature has been interrupted by human contact and the results are profound. Marie-Ange Guilleminot's video installation, "Fold," is on continuous view in the Gallery. Filmed at the Diego Rivera Gallery at the San Francisco Art Institute, and produced by The Fabric Workshop and Museum in Philadelphia, this portable monument is a reminder of the Hiroshima recollection. But as students participate in the constant metamorphosis of the fabric, Sea Urchin, we are delightedly surprised: Guilleminot has communicated Fiber's seldom-realized auditory sensation!! (With Special thanks to the r e f u s a l o n Gallery) Katherine Westphal, California's legendary Daughter, manipulates her original embroideries into delightful alter-like "Spirit Houses." Found objects from earlier travels also decorate her personalized retablos and allow her mental visitation rights. The resulting dioramas are both new age art and spiritual refuge for the child in all of us.
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1st Installation View THREE WAYS THE SEVEN VIRTUES LEAVINGS | |||||||||||||
Linda Hutchins | |||||||||||||
THREE WAYS 1999 Mixed media 5" x 14.5" x 11.5" $600 | |||||||||||||
THE SEVEN VIRTUES 2000 Mixed media, 15" x 4'x 6" $1800 | |||||||||||||
LEAVINGS 2000 Mixed media, 16 loaves Each approx. 4.5" x 4.5" x 8.5" $120 each | |||||||||||||
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Karen Hampton
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Linda Hutchins DO NOT CROSS THIS LINE 1994 Cotton, steel, wool Installation: 2' x 18' x 2' $6000 | |||||||||||||
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Karen Hampton | |||||||||||||
FLORA'S DAUGHTERS 2001 Hand stitched, natural dyes 93" x 36" $4000 | |||||||||||||
MI FAMILIA 1994 Painted warp, double weave, cotton, discharge, copy transfer Framed: 34.5" x 35.5" $3000 | |||||||||||||
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Karen Hampton (background) | |||||||||||||
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Susan Taber Avila | |||||||||||||
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FLOWERING LOG 1999 Thread, constructed by machine stitching 26" x 5" x 4" $2200 | |||||||||||||
SAY WHAT 2001 Thread, gold leaf, industrial felt, stitching $1200 | |||||||||||||
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4th Installation View Akemi Nakano Cohn TAKING ROOT SEEDS ASSIMILATION | |||||||||||||
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Akemi Nakano Cohn | |||||||||||||
ASSIMILATION 1995 Color rice paste resist printing on silk, interlaced & hand stitched 43" x 45" $4400 | |||||||||||||
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5th Installation View Emily DuBois SCROLL 2 12 MOONS AGE OF APPROACHING PIECE (Diptych) SCROLL I PRIMARY STRUCTURE PLYWOOD | |||||||||||||
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Emily DuBois | |||||||||||||
12 MOONS 2000 Mixed media on bark cloth Each approx. 12 x 12 inches $700 each; $7000 | |||||||||||||
12 MOONS, Detail | 12 MOONS, Detail | ||||||||||||
AGE OF APPROACHING PEACE, (DIPTYCH) 2000 Ikat dyed, jacquard woven thread Each 36 x 15 inches Carley Fonville & Emily Dubois 2 pieces, $10,000 |
AGE OF APPROACHING PEACE, (DIPTYCH) 2000 Ikat dyed, jacquard woven thread Each 36 x 15 inches Carley Fonville & Emily Dubois 2 pieces, $10,000 | ||||||||||||
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6th Installation View Faye Zhang WORD PATH, 2000 (Front View) Handwoven with cotton 5 x 10 feet NFS Akemi Nakano Cohn ASSIMILATION, 1995 | |||||||||||||
7th Installation View Faye Zhang WORD PATH, 2000 (Back View) Handwoven with cotton 5 x 10 feet NFS Katherine Westphal SPIRIT HOUSES | |||||||||||||
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Katherine Westphal | |||||||||||||
IN THE LAND OF BUDDHA 2000 14" x 13" x 8" Found objects, cardboard Photo Credit: Katherine Westphal | |||||||||||||
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8th Installation View Kyoung Ae Cho PINE BALL II PINE NEEDLES INNER--SCAPE IV INNER--SCAPE V SCROLL II | |||||||||||||
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Kyoung Ae Cho | |||||||||||||
PINE BALL II 1996 Pine needles & burn marks oon wood 3.5" x 4/5" x 4/5" $2,700 | |||||||||||||
INNER--SCAPE IV 2000 Burn marks, wood, silk organiza, thread 30" x 30" $4,500 | RAPTURE, DETAIL | ||||||||||||
SCROLL II 2000 BALSAM FIR NEEDLES, SILK ORGANIZA, THREAD WOOD 9" X 142" $2,500 | |||||||||||||
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