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Exhibition: Lenore Tawney | Alison Jacques

LENORE TAWNEY
Part One: 12 October – 6 November 2021
Part Two: 18 November – 8 January 2022

Alison Jacques is delighted to announce two exhibitions of work by pioneering textile artist Lenore Tawney (b. 1907, Lorain, Ohio; d. 2007, New York). Part one, on view during Frieze London, focuses on Tawney’s early work and material
innovations; part two will feature rarely seen late work and an installation from the iconic ‘Cloud’ series. The exhibitions, Tawney’s first in the UK, follow a landmark survey at the John Michael Kohler Arts Center, Wisconsin (2019).

In 1957, Tawney lowered her beloved cat Pansy into her Daimler and drove from Chicago to Manhattan. At the age of 50, she was leaving her home of 30 years in the search of ‘a barer life, closer to reality, without all the things that clutter and
fill our lives.’ Tawney may not have earnestly committed herself to her artistic practice until relatively late in life, but this move initiated a total immersion.

‘The truest thing in my life was my work’, she later recalled. ‘I wanted my life to be as true.’

Upon arriving in New York, Tawney settled on Coenties Slip, home to such luminaries as Jasper Johns, Ellsworth Kelly and Agnes Martin, before moving to the nearby South Street, where she leased three floors of a former sailmaker’s
loft. It was here, free to experiment at unprecedented scale, that a nascent idea crystallised, one that would define Tawney’s work for the coming half decade. ‘The idea of weaving in volume floated up to consciousness this morning’, she wrote in 1958. ‘I awoke nervous and excited all day thinking about it.’

Tawney was born in Lorain, Ohio, in 1907, and raised on the shore of Lake Erie. She spent her formative years as a proofreader for a legal publisher in Chicago, but the imprint of Ohio lingered. Her work – weaving, collage, mail art – is strewn with birds, feathers, stones; she never shook ‘the blue of the water and the sky.’ Finding equal value in Zen Buddhism and such Western thinkers as Erich Neumann and Carl Jung, Tawney lived as a modern-day pantheist, finding within nature an all-encompassing and immanent spirit.

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Identity Launch: ReWeave | Here Design | London Craft Week

ReWeave: Textile Waste Transformed

ReWeave is a novel approach to exploring how fabric waste can be transformed into design-led woven textiles on an industrial scale to meet the increasing demand for circularity in designing fashion and textiles.

Led by textile designer Kirsty McDougall, ReWeave is a Hastings-based design studio specialising in woven textiles and product, and supported by the BFTT. The project intends to develop a viable business model for a more circular approach to design and fabrication, and to analyse the environmental impact of repurposing fabrics at an industrial scale.

By exploring new models of textile design, ReWeave aspires to serve as a blueprint for ideas about reuse and repurposing for manufacturers and brands, spearheading industry change.

ReWeave will be at the Hoxton Gallery to launch their new identity created by Here and Kirsty will talk about the processes and ideas behind ReWeave and their collaboration.

Event: Sat 9th Oct 2021
Time: 11.30 – 12.30
Venue: Hoxton Gallery, 17 Marlow Workshops, Arnold Circus, Shoreditch. London E2 7JN
What3words: extend.union.motor
Tickets: To book event click here

Instagram:
@re_weave_
@heredesign

With thanks to ReWeave & Here for text and images

Exhibition: Craft by Residency | An immersive showcase for London Craft Week 2021

This London Craft Week (4th-10th October), innovative, pop-up retail solution, Residency, plays home to 14 talented makers who will showcase a plethora of crafts and the processes behind them. Craft by Residency is featuring a vibrant curation from Future Icons, and an exhibition debut from marbling artist and designer, NAT MAKS, the space will be transformed into an interactive and immersive showcase that celebrates the technical skill and technique as much as the finished product.

Marble wallpaper artist, NAT MAKS, founded by Natascha Maksimovic, will be unveiling her new Marble Tapestry. Made using wallpaper offcuts, Maksimovic breathes new life into her designs to create a spectacular wall hanging. Maksimovic will also be showcasing her recently launched Metamorphosis collection, a range of 3D fashion garments formed from marbled paper that pay homage to the ancient craft of Suminagashi.

On the Marble Tapestry, NAT MAKS says: “Taking my responsibility further as a print maker, I have found it impossible to throw away my marbled wallpaper off-cuts. In order to celebrate these pieces and reduce my production waste, I have created these curated Tapestry wall pieces. Each one is unique and celebrates the hidden pieces of my art that would usually have been discarded.”

Following acclaimed showcases at the Burlington Arcade and Oxo Tower Wharf, Future Icons presents the work of 13 of its makers spanning a range of disciplines from ceramics to embroidery, to intricate metal and enamel projects to a range of textile and leather based artworks. Continue reading →

Exhibition | Symposium : Thread

Thread is the gathering of four artists from different cultures and lived experiences sharing common ground; an overwhelming interest in the very stuff of textile practice, of lives lived in and through the literal and metaphoric language of thread. Their work is shown at the Elysium Gallery and is curated by Angela Maddox , Anne Jordan and Lorna Hamilton-Brown

Each artist recognising the potential of one drawn out, spun out, teased out fibre – in both singular and multiple forms – to perform as storyteller, witness, soothsayer, and to be simultaneously capable of healing and harm.

A thread twisted and plied with others, passed through the eye of a needle, the shed of a loom, the tip of a hook, slipped from twinned needles. The wrapped, pieced, tangled, bound, plied, woven, folded, stretched, torn, printed, hooked, knitted, unravelled, stitched, unpicked, blocked, eased, and dyed. All of this.

The thread of stories and narratives, of myths and constructed truths, of obsession, violence, and celebration. Threads worn at and through the body. All life is to be found in a thread.

Thread is an imperative, an instruction. Its practices of joining, increasing, and attaching are ones of expansion and growth. This Thread, and its gathered together fabric, its tales of objects and making, is a hopeful thing. It marks an emerging and new language of textile practice. Continue reading →

Company Profile: AKHL

AKHL was founded by Akhil Nagpal in 2019.

AKHL is defined by its commitment to innovation, experimentation and the crafting of evocative pieces of fashion by contemporising traditional Indian handcrafting and handweaving techniques.

Essential to its designs are distinctive and complex textiles, engineered using unusual and often upcycled materials, employing a wide range of processes including hand weaving, traditional Indian hand embroidery, hand printing, applique and spectrum dyeing.

Ultimately, these signature textiles, in conjunction with handwoven and new age fabrics, are meticulously tailored into inventive and evocative luxury womenswear.

Since its founding, AKHL has been a recipient of various awards and honours. It showcased its debut collection at Lakme Fashion Week SS20 as the winner of the prestigious Gen Next Competition and won The Grazia Young Fashion Award in 2021.

It has also been awarded the curated title ‘Black Sheep’ on Not Just A Label, given to the most innovative and striking designers on the platform.

AKHL has been featured on the ‘Label Alert’ segment in Harper’s Bazaar India and Grazia India as well as in various other editorials by leading Indian fashion publications including Vogue, Harper’s Bazaar, Grazia and Cosmopolitan.

Reflektor SS21 Collection
AKHL SS21 collection has been visually inspired by interactions and distortions of light and colour. The studio has  studied these interactions in highly-engineered and uniquely processed reflective installation artworks by Olafur Eliasson and James Turnell, as well as in softer, yet equally compelling, natural reflective surfaces.

These vivid colour and light visual studies helped them develop new-age handwoven and hand-embroidered textiles as well as sharply-cut sculptural silhouettes, all of them ultimately culminating into an innovative and evocative collection of modern ensembles.

The most dominant textile in this collection has been their handwoven/hand-embroidered silk-raffia mesh. This textile is first meticulously woven on a handloom, it has a raw silk warp and a raffia weft.

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Textile Innovation from Sudō Reiko: Talk & Conversation

Textile Innovation from Sudō Reiko: Talk & Conversation
Online Event
Date: Tuesday 27 April 2021, 12:00-13:00 BST
Booking Essential; Admission Free. Click here for link

Join Japan House for a special online talk with pioneering textile designer Sudō Reiko whose innovative works are featured in Japan House London’s exhibition MAKING NUNO Japanese Textile Innovation from Sudō Reiko.

As the Design Director of leading textile design firm Nuno and a member of the Japan Design Committee, Sudō Reiko is renowned for pushing boundaries of textile production and championing new methods of sustainable manufacturing.

During this talk she gives a special insight into the creative processes, craftmanship, techniques, and materials that are woven into her wide range of innovative textiles.

Following her talk, Sudō is joined by Anne Marr, Programme Director for Jewellery, Textiles and Materials at Central Saint Martins, University of the Arts London in a conversation chaired by Japan House London’s Programming Director Simon Wright.

There is an opportunity for registered guests to ask questions to the speakers during this live online event.

The exhibition MAKING NUNO Japanese Textile Innovation from Sudō Reiko opens in the Japan House London Gallery on 17 May, subject to UK government guidelines. See previous post on The Weave Shed

 MAKING NUNO: Japanese Textile Innovation from Sudō Reiko

Japan House London Launches Exhibition of Critically Acclaimed Textile Designer Sudō Reiko

MAKING NUNO Japanese Textile Innovation from Sudō Reiko is a brand-new exhibition adaptation presenting work by internationally acclaimed Japanese textile designer Sudō Reiko with projection installations designed by the exhibition’s artistic director, Saitō Seiichi of Panoramatiks (formerly Rhizomatiks Architecture).

Produced in collaboration with CHAT (Centre for Heritage, Arts and Textile) in Hong Kong, the exhibition expands on the successful show in 2019 curated by Takahashi Mizuki, Executive Director and Chief Curator of CHAT.

The free exhibition reveals how Sudō Reiko’s work pushes the boundaries of textile production with unconventional and sustainable materials and engineering techniques, working with manufacturers from across Japan

Featuring five large-scale installations combining NUNO textiles and art projections by leading technological designers Panoramatiks from Tokyo, shown for the first time in the UK, with supporting drawings and sketches, raw materials, design prototypes, and video.

Launches Monday 17 May 2021

Japan House London presents an exhibition showcasing the innovative work of textile designer Sudō Reiko. Running from 17 May ‒ 11 July 2021, this new exhibition, with art direction by Saitō Seiichi of Panoramatiks (formerly Rhizomatiks Architecture), shines a spotlight on the Japanese designer pushing the boundaries of textile production and championing new methods of sustainable manufacture.

Design Director of leading textile design firm NUNO for over 30 years, Sudō trained as a textile and industrial designer, and she designs fabrics that incorporate traditions of Japanese crafts with new engineering techniques and unusual combinations of materials. She works with materials as diverse as silk, hand-made washi (Japanese paper) nylon tape and thermoplastic, and technologies derived from Japanese hand craft traditions such as caustic burning, weaving and dying. Her inspiring designs are currently housed in collections around the world, including in MoMA in New York and in the V&A in London.

The exhibition at Japan House London includes five large-scale installations of Sudō’s work with the manufacturing processes brought to life by Saitō Seiichi’s artistic direction. Using a variety of thought-provoking processes from washi dyeing to chemical lace embroidery inspired by rolls of paper, each installation is accompanied by drawings and sketches, alongside raw materials and design prototypes.

Visitors to the exhibition encounter a series of installations that demonstrates the ways in which Sudō uses innovation and creativity to make steps towards building a more sustainable global textile production industry, with particular focus on the sustainability of materials, regional manufacturing industries and craftsmanship.

Sustainability of Material:
Explore how Sudō harnesses unconventional materials such as washi alongside textile techniques such as heating and bonding to create entirely original works.

Not to be missed, Kibiso Crisscross, a collaborative project with the Tsuruoka Textile Makers Cooperative, takes discarded kibiso, the protective outer layer of silk cocoons and uses a specially developed machine to create yarns from the tough remnants, creating the first step towards realising the ‘no-waste, use everything potential’ not previously seen in the silk industry.

Sustainability of Regional Manufacturing
Explore the origins of Sudō’s work, following her decades of work with family-run factories across Japan which specialise in different production techniques, collaborating with each to develop new, alternative production methods to push the possibilities of industrial machinery making and help revitalise these regional manufacturing hubs.

Sustainability of Traditions and Craftsmanship
Discover Sudō’s designs that revive old textile machines and Japanese craftsmanship on the verge of disappearing. Learn how she incorporates intricate craftsmanship into industrial textile production, collaborating with different experts and artisans along the way to help preserve craft heritage through upcycling and reinvention.

Sudō Reiko, Textile Designer and Design Director of NUNO:
“Japanese textiles are born of a long history, embracing both refined traditions of artistry and unparalleled high-tech materials. Since 1984, Nuno has collaborated with skilled local artisans all over Japan using a wide variety of different fibres and techniques to craft some 3000 different textiles. Among these are the richly textured maku partitions to be displayed in the centre of Japan House London’s ground floor. Much more than a mere ‘curtain’, these textiles afford entry into a visionary realm with a uniquely Japanese essence. Please step inside and be transported into our weaving wonderland.”

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Art Quill Studio & Blog | Marie-Therese Wisniowski

Art Quill Studio: A website featuring glossaries & articles relevant to Textile Art

Marie-Therese Wisniowski works as a full time studio artist, researcher, author, curator, university lecturer and is the former co-editor of Textile Fibre Forum art magazine.

She is the Director of Art Quill Studio & Blog. Her first post on the Art Quill Studio blogspot was published on August 26, 2010 focussing on the first ArtCloth exhibition in Australia featuring international and national textile artists and was titled – ArtCloth: Engaging New Visions and featured important textile artists such as Norma Starszakowna (UK), Joan Schulze (USA), Joan Truckenbrod (USA), Cas Holmes (UK), Jane Dunnewold (USA) and Ken Kagajo (Japan) – amongst others. At the present time over 500 posts have been published.

At the outset Art Quill Studio blogspot was designed to educate as well as to entertain. The education posts were titled, Art Resource, under the header of the post. At the time of writing more than one hundred Art Resources have been published. These are mostly published in the first week of every month. In order to access these resources more quickly, in the ‘Preamble’ of every Art Resource post are links to all of the other Art Resource posts on the blogspot. Example:  One Hundreth Art Resource. Continue reading →

Shane Waltener: Weaving as Performance

Shane Waltener’s practice is rooted in ideas about ecology, sustainability and reuse. Taking the form of objects, installations and performances, Waltener draws inspiration from a range of craft practices ranging from textile and basketry weaving to needlecraft and ceramics. Weaving however is at the core of his work.

The artist shares anthropologist Tim Ingold’s view that making is a modality of weaving, not the reverse. Making anything, whether a building with bricks and mortar or verbal communication composing words into sentences is a weaving process. If art is a matter of organising chaos into pattern, the artist’s work is essentially that of a weaver.

Waltener champions the idea of weaving as an ‘embodied’ practice, one that engages the whole body. He is a member of Ambient Jam, an improvisation ensemble which explores movement and music with tactile sculptures. Working with them has led Waltener to use methods common to dance and movement practitioners, relying on improvisation as well as acquired routines and skills in order to develop work. The making process is then recorded as a performance score.

Exemplifying this way of working is his recent work with The Building Action Group (BAG) during his residency at Academie Minerva in Groningen, The Netherlands; the third and final project in a programme following Hella Jongerius and Anotonio José Guzman. In response to the earthquakes caused by gas mining in the province of Groningen, that led to more than 100 collapsed buildings, 400 more being condemned and some 100,000 people being displaced since the early 1990s, the artist proposed to weave a house entirely from locally sourced soil and plant material. Continue reading →