Artists we highlighted this month have a close relationship to a traditional craft aesthetic, manifested in a contemporary manner. They have chosen conventionally Asian materials and/or techniques (dyes, papers, gold leaf, persimmon tannin, kategami) used in both time-honored and unconventional ways. This included works from Jiro Yonezawa, Hisako Sekijima, Keiji Nio, Kyoko Kumai, and Jennifer Falck Linssen.
Jiro Yonezawa is a Japanese artist that uses bamboo basketry as an expression of detailed precision. With each artwork he creates, there is a contrast of disciplined formality in technique and natural freedom in form.
Japanese artists, Hisako Skijima specializes in basketry. She explores the visual and philosophical potentials while practicing her craft. Her interests are motivate by showcasing the symbolical way how the movement of lines around a negative space redefines the volume, as well as embodying her thought process.
Keiji Nio is a Japan based artist who is known for impeccable tapestry and textile works. Nio’s work is done through the traditional technique of Kumihimo, a Japanese form of braid-making. A frequent theme that is present in his works is the combination of industrial and natural materials that depict nature and man’s relationship to the world.
Kyoko Kumai is a Japan-based artist who frequently uses materials
like stainless steel wire within her artwork. She aims to achieve works that juxtapose technological symbols with tradition and nature, such as weaving, stitching, twisting, binding and entwining which have been used since time immemorial.
Jennifer Falck Linssen’s innovative sculptures of katagami reference complex Japanese sumihimo braiding reimagine conventional techniques. She aims to bridge the gap between our own human scale, the minute and intimate, and the vast and grand by freezing a moment in time, immortalizing it in pattern, light, and shadow. Through these moments, she finds comfort in seeing humanity reflected in nature’s change, rebirth, resiliency, and endurance.
Art & Identity: A Sense of Place
In our 2019 Art in the Barn exhibition, we asked artists to address the theme of identity. In doing so, several of the participants in Art + Identity: an international view, wrote eloquently about places that have informed their work. For Mary Merkel-Hess, that place is the plains of Iowa, which viewers can feel when viewing her windblown, bladed shapes. A recent work made a vivid red orange was an homage to noted author, Willa Cather’s plains’ description, “the bush that burned with fire and was not consumed,” a view that Merkel-Hess says she has seen.
The late Micheline Beauchemin traveled extensively from her native Montreal. Europe, Asia, the Middle East, all influenced her work but depictions of the St. Lawrence River were a constant thread throughout her career. The river, “has always fascinated me,” she admitted, calling it, “a source of constant wonder” (Micheline Beauchemin, les éditions de passage, 2009). “Under a lemon yellow sky, this river, leaded at certain times, is inhabited in winter, with ice wings without shadows, fragile and stubborn, on which a thousand glittering lights change their colors in an apparent immobility.” To replicate these effects, she incorporated unexpected materials like glass, aluminum and acrylic blocks that glitter and reflect light and metallic threads to translate light of frost and ice.
Mérida, Venezuela, the place they live, and can always come back to, has been a primary influence on Eduardo Portillo’s and Maria Davila’s way of thinking, life and work. Its geography and people have given them a strong sense of place. Mérida is deep in the Andes Mountains, and the artists have been exploring this countryside for years. Centuries-old switchback trails or “chains” that historically helped to divide farms and provide a mountain path for farm animals have recently provided inspiration and the theme for a body of work, entitled Within the Mountains. Nebula, the first work from this group of textiles, is owned by the Cooper Hewitt Museum.
Birgit Birkkjaer’s Ode for the Ocean is composed of many small woven boxes with items from the sea — stones, shells, fossils and so on — on their lids. ” It started as a diary-project when we moved to the sea some years ago,” she explains. “We moved from an area with woods, and as I have always used materials from the place where I live and where I travel, it was obvious I needed now to draw sea-related elements into my art work.”
“I am born and raised in the Northeast,” says Polly Barton, “trained to weave in Japan, and have lived most of my life in the American Southwest. These disparate places find connection in the woven fabric that is my art, the internal reflections of landscape.” In works like Continuum i, ii, iii, Barton uses woven ikat as her “paintbrush,” to study native Southwestern sandstone. Nature’s shifting elements etched into the stone’s layered fascia reveal the bands of time. “Likewise, in threads dyed and woven, my essence is set in stone.”
For Paul Furneaux, geographic influences are varied, including time spent in Mexico, at Norwegian fjords and then, Japan, where he studied Japanese woodblock, Mokuhanga “After a workshop in Tokyo,” he writes, “I found myself in a beautful hidden-away park that I had found when I first studied there, soft cherry blossom interspersed with brutal modern architecture. When I returned to Scotland, I had forms made for me in tulip wood that I sealed and painted white. I spaced them on the wall, trying to recapture the moment. The forms say something about the architecture of those buildings but also imbue the soft sensual beauty of the trees, the park, the blossom, the soft evening light touching the sides of the harsh glass and concrete blocks.”