Tendency, at DNA Art Space, London, Canada, Oct 7 to Nov 14, 2016
This exhibition featured the Noise, Frequency and Codex weaving series and the knit object series.
The form of each hand knit object is dictated by a simple set of instructions or algorithm. All are linen or hemp and some are dyed with plant dyes. They are mounted on linen.
The ”Stone swatch series” began with the idea that something very small - like a handful of stones collected on a camping trip with my daughter - can act as a kind of distilled index of the land itself. Monoprints of these same stones were used as source imagery for this collection of handwoven Jacquard swatches. Each small piece of cloth is a unique tactile souvenir of a specific site, providing an object for contemplation of the natural landscape and our place in it. As a descendent of settler culture in Treaty Seven territory, I am working to navigate the legacy of my ancestors in order to better understand how I occupy territory both as a settler and a child of this land.
Cast offs was a site-specific installation of hand knitting on the grounds of the Inverness County Centre for the Arts (ICCA) for the exhibition Interlacing Conversations, August 30 to September 20, 2015 in Inverness, Nova Scotia.
The installation was composed of more than fifty hand-knit, flat wool ”drawings” of hats, socks, long underwear and mittens. Knitters in Cape Breton and Alberta have lent their hands and ingenuity to the creation of individual pieces based on a set of knitting patterns created for the project.
Thank you Emma Bass, Callie Beller, Cynthia Baughman, Rachel Bennett, Dorothy Burton, Rose Cameron, Christine Campbell, Carolyn Davis, Louise Delisle, Christine Duncan, Jennifer Duncan, Meaghan Durieux, Rui Gao, Lorna Gladman, Jasmine Heim, BJ Korson, Julia Krueger, Robyn Love, Bernadette MacLeod, Donna Merithew Lucas, Alicia Peres, Christina Pickles, Brier Reid, Claire Sherwood, Megan Slater, Janice Taylor, Elizabeth Whalley and residents at the Iverary Manor in Inverness, Nova Scotia. (If you knit pieces for this project and do not see your name here, please email email@example.com)
Images provided by Robyn Love, Steven Rankin and Elizabeth Whalley
Cloth is analogous to the human body. When placed in the landscape, textiles indicate human presence evoking the temporary nature of our occupancy and the fragility of the human body itself. Temporary shelter, flag, signal or marker, textiles in the landscape proffer ephemeral evidence of our attempts to occupy, communicate boundaries or quantify the natural world. As the descendant of farmers on the Canadian prairie, I feel a strong connection to a landscape, one that can feel indifferent or even hostile depending on the season. On the prairies it is the wind that carves the earth, carries the weather and creates the conditions (favourable or otherwise) that its inhabitants experience.
This video and following images documents a project titled "Air over land" installed near Delia, Alberta from January to May 2013. Three hand-knit linen tubes encased in thin wool felt were placed at the base of the Hand Hills, once the edge of a prehistoric ocean. The trio of windsocks captured the direction and force of the prairie wind. Over the course of five months they were ravaged by the wind and faded by the sun. Once the first piece was torn from its mount, the deterioration of these now fragile textile objects was arrested and conserved. Each piece has now been hand stitched to a cotton mount for exhibition.
"Air over land" is intended to capture the strength of natural phenomena and embed it in the deteriorating cloth subjected to its force. The resulting textiles are a document of exposure to the elements and provide an analog to our own vulnerable bodies in the landscape. The corresponding video documentation captures the process of deterioration enacted on the textiles by wind, snow and sun.
Time lapse documentation of "Air over land" created by Mackenzie Kelly-Frère in 2015.
Some images by Lorna Sarah.
Frequency exhibition at GalleryGallery in Kyoto Japan, Feb to Mar 2014
This exhibition featured select pieces from the Noise, Frequency and Codex weaving series.
Codex is a series of handwoven cloth panels investigating the complex interaction of measured ink pattern and randomized block patterns utilizing an ancient weave structure known as samit.
The first four images are installation shots of Codex 1 and 2 from In the making, an exhibition curated by Diana Sherlock for the Illingworth Kerr Gallery. The exhibit featured the work of: Ward Bastian, Jolie Bird, Nicole Burisch, Hyang Cho, Dean Drever, MacKenzie Kelly-Frère, Stephen Holman, Robin Lambert, Wednesday Lupypciw, Brendan McGillicuddy, Tyler Rock, Jenna Stanton, and Pavitra Wickramasinghe. DOWNLOAD EXHIBIT CATALOGUE EXCERPT
Recollect 1 is comprised of a series of five handwoven panels in linen. Each is patterned in a weft kasuri technique using the natural and bleached colour of the linen along with madder. Across the five panels the vertical stripes deteriorate gradually as ties were omitted from the weft skeins as they were prepared for weaving. The first image is a detail of one of the weft skeins after ties are removed following a four week “Turkey red” process with madder.
Recollect 2 is composed of silk and hemp yarns dyed with plant dyes and stained with sumi. The piece was woven using a summer winter polychrome structure and a randomized tie-up that was changed for each day of weaving.
I produced Recollect 2 during a residency in the spring of 2011 at the Museum of Contemporary Craft in Portland, Oregon. Curator Namita Gupta Wiggers conceived a series of five, cross-disciplinary artist residencies coinciding with the exhibition Laurie Herrick: Weaving Yesterday, Today and Tomorrow. The residencies were to occur within the exhibition itself, with each artist surrounded by weaving spanning Laurie Herrick’s forty-year career as a weaver, artist and educator. Pam Petrie, Christy Matson, Elizabeth Whelan, Debora Valoma and I were asked to “create works in response to Herrick’s weavings … adding a contemporary lens on how work from the past can be used to shape the future through the living craft of weaving.”
First image by MN Hutchinson following images by Matthew Miller courtesy Museum of Contemporary Craft/PNCA
(im)material beauty, master of fine arts thesis exhibition, March 1 to 12, 2005, Anna Leonowens Gallery, Nova Scotia College of Art + Design University, Halifax, Canada
Read an excerpt of my MFA thesis as published in Craft Perception & Practice in 2007.
Work produced between 1995 and 2010.