Surface Design Journal - Spring 2013 - Sample Issue by Surface Design Association

Meshing Material and Science The theme of Art and Science was last covered in the Winter 2001 issue of Surface Design Journal. Since then, the fields of smart textiles and material science, in particular, have grown exponentially. As we struggle to deal with the excesses of human consumption and pollution, scientists and designers have focused on finding more environmentally friendly and energy efficient ways of making the materials we use in daily life. Groundbreaking research on everything from energy-harvesting garments to biodegradable polyester is taking place around the globe. Over a dozen books on textile innovation have been published in just the last three years. Scores of wellfunded schools, including the College of Textiles at North Carolina State University in the US and the Textile Futures Research Centre at Central Saint Martin’s College of Arts and Design in London, are leading the way to a better future. This issue features the work of many artists for whom science provides endless creative inspiration. Jenny Leary, the Informed Source artist in this issue studied at both of the above institutions in pursuit of her passion to create new forms of textiles with magnetic properties. In the article, she speaks poetically about the magical and metaphysical effect that scientific principles in action can have on the viewer. Lynne Bruning launches us into the Material/Science theme with a fascinating cross section of recent projects by emerging eTextile artists. Janet Echelman, our cover artist and 2013 SDA Conference keynote speaker, discusses her quest to soften urban landscapes with supple netted

sculptures made with high-tech tools and materials. Wearing textile progress on her sleeve, so to speak, is Anne Selby with a dazzling array of apparel made with her award-winning Compleat Arashi Shibori Wrapping Machine. Geraldine Ondrizek has created a body of work that changes our perception of genetic anomalies and disease, producing a new conceptual symbolic system. Nathalie Miebach, the closing keynote conference speaker, interprets complex scientific data in colorful codified structures made with basketry techniques. Ancient sustainable surface design methods are rediscovered by globe trekking weaver, dyer, and educator Catharine Ellis in “The Science of Natural Dyes.” Complementing this encouraging story is the related exhibition Earth Friendly Alchemy: Explorations in Natural Dyeing, one of several SDA-sponsored events at the conference in San Antonio, Texas in June. For more practical applications of scientific research, Christina Conklin shares an awe-inspiring selection of textile innovations that are helping to save the world. Studying the work of so many artists, designers, and scientists committed to the contemporary materials revolution has recharged my optimism for the future. I hope you feel the same!

Marci Rae McDade journaleditor@surfacedesign.org

C o r r e c t i o n SDJ Winter 2013, Vol. 37, No. 2 On page 35, the location of Pae White’s large-scale textile piece Metafoil was misidentified. This stunning jacquard curtain is permanently on display at the Oslo Opera House in Oslo, Norway. PAE WHITE MetaFoil (Installation view, Oslo Opera House, Oslo, Norway) Cotton and polyester thread, computerized jacquard weaving, 36' x 95', 2008. Shown courtesy of neugerriemschneider, Berlin. Photo: Eric Berg. COVER CREDIT: JANET ECHELMAN 1.26 (Installed over the Amstel River, Amsterdam, Netherlands) Spectra® high-tenacity polyester fiber, hand and machine knotting, 230' x 63' x 30', 2012-2013. Lighting design: Rogier van der Heide. Photo: Ben Visbeek. Shown courtesy of the Amsterdam Light Festival and Studio Echelman. Spring2013

Surface Design Journal

features 08

The Future of Textiles by Lynne Bruning

Interview: Janet Echelman

Technology & Design: A Creative Alliance in Arashi Shibori

by Anne Selby

The Science of Natural Dyes by Catharine Ellis

Nathalie Miebach: Hurricanes, Roller Coasters, and Baskets by Sally Hansell

Geraldine Ondrizek: Chromosome Painting by Jane Chin Davidson

How Textiles are Saving the World by Christina Conklin

Surface Design Journal

Spring 2013 Volume 37 Number 3

departments 48

Informed Source Jenny Leary

Exposure A gallery of recent work by SDA members

First Person Michelle Samour

First Person Phillip Stearns

In Review Olga de Amaral: Places New York, New York Anna Betbeze North Adams, Massachusetts The Knitting and Stitching Show London, England Beyond Function: Fiber, Fabric, and Finery Santa Clara, California 2012 International TECHstyle Art Biennial (ITAB) San Jose, California

In Print Warp & Weft: Woven Textiles in Fashion, Art and Interiors The Textile Reader

2012 Creative Promise Awards for Student Excellence Kyla Mucci Emily McIntyre

52 On DVD Natural Dye Workshops I & II with Michel Garcia

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Interview J

Janet Echelman builds living, breathing sculpture environments that respond to the forces of nature—wind, water, and light—and become inviting focal points for civic life. Named Architectural Digest’s 2012 Innovator for “changing the very essence of urban spaces,” Echelman combines ancient craft with cutting-edge technology to create permanent sculpture at the scale of buildings. In a recent e-interview, Echelman discussed how state-of-the-art research, tools, and materials have expanded the scope of her creative vision worldwide.

Surface Design Journal

The invisible grace and strength of wind currents has been a key component of your work since 1996 when you began making netted sculptures on the coast of India. As the Earth experiences more pronounced effects of global warming, how has scientific research influenced your designs? I’ve been working on a series for three years called 1.26. It started in 2010 when I got a call from the City of Denver, host of the Biennial of the Americas, asking if I could represent the 35 nations of the Western Hemisphere and their interconnectedness in a sculpture. I had no idea how to do that, but I said “yes.” I had been following the tragic earthquake that had just occurred in Chile when I came across an article by a National Aeronautics and Space Administration (NASA) scientist who measured the effects of the earthquake on the entire planet. I was surprised to learn that the earthquake shortened the length of the day by 1.26 microseconds by speeding up the earth’s rotation. It was hard to fathom how a physical event in one part of the world could affect the flow of time— something I thought to be certain and inescapable. This became the catalyst for the artwork. I then looked at the tsunami waveheight data gathered by the National Oceanic and Atmospheric Administration (NOAA). With their data set, my studio created a 3-D model of the tsunami’s amplitude rippling across the ocean, which inspired my textile form. The result was my sculpture 1.26, its name referring to the microseconds by which the day was shortened

ABOVE: JANET ECHELMAN 1.26 (Installation view, Sydney, Australia) Spectra® high-tenacity polyester fiber, hand and machine knotting, lighting, 230' x 63' x 30', 2011. Photo: Marinco Kojdanovski. BELOW: JANET ECHELMAN 1.26 (Installation view, Denver, Colorado) 2010. Photo: Peter Vanderwarker.

ABOVE: NOAA simulation of the tsunami that followed the 2010 earthquake in Chile, shortening the length of the earth’s day by 1.26 microseconds. LEFT: JANET ECHELMAN Her Secret is Patience Detail, painted and galvanized steel and cables, changing sets of recyclable high-tenacity polyester braided twine netting, colored lighting with computerized programming, hand and machine knotting, 100' wide at top, 15' wide at bottom, 2009. Photo: Karie Porter. Spring2013

“In early design phases, I try to disregard both inner and external critics…” when the earthquake redistributed the earth’s mass. After North America, 1.26 traveled to Sydney, Australia, in 2011 and Amsterdam, Netherlands, earlier this year. Because 1.26 is made entirely of lightweight materials, it can attach to existing architecture without extra reinforcement. Its soft surfaces are animated by the wind, its fluidly moving form contrasting with the rigid surfaces of the urban surroundings. At night, colored lighting transforms the work into a floating, luminous form. Your monumental yet gentle public art projects unite and energize the surrounding communities. Why do you think your work has had such an uplifting effect on so many people around the globe? I hope my art creates an invitation to listen to our inner selves, and to connect us to one another in a public space. In that way, I hope my art can be a transformative element in our busy urban lives. For Her Secret is Patience, my 145-foot-tall aerial sculpture in Phoenix, Arizona, I was inspired by the region’s distinctive monsoon cloud formations and the shadows they cast, in addition to forms

found in desert flora and the local fossil record. The nighttime lighting program I created changes color gradually through all four seasons. I selected the color temperatures to provide a sense of relief to residents of this extreme climate, shifting to cool hues in summer and warm tones in the winter. The lighting design also varies from night-to-night what portion of the sculpture is most illuminated, leaving some parts obscured in mystery, much like the phases of the moon. I was asked to create a “Zone of Re-composure” for travelers after they go through security inside the San Francisco International Airport. I find calm in nature; since airports seem to be completely devoid of nature, I wanted to bring it in. We did this by cutting three round skylights into the ceiling and suspending delicate layers of translucent colored netting to create three volumetric forms. Visually, the piece Every Beating Second evokes the contours and colors of cloud formations over the bay and hints at the silhouette of the Golden Gate Bridge. During the day, sun streams through the skylights casting shadows on the floor. At night, a program of shifting colored lighting makes the netting glow as computer-mechanized airflow animates the sculpture to suggest wind and the presence of nature within Terminal 2. I’ve been getting feedback that the sculpture is working—getting people to stop, look up, and slow down for a moment to contemplate the phenomena. How have new high-tech materials and stateof-the art 3-D modeling programs provided solutions to the complex technical challenges unique to each location? After drafting a design, I work with engineers and architects to transform my simple sketches into scale 3-D forms within a larger 3-D site model. These models help me to adjust the scale of my artwork to the human body and architectural context until it evokes the feeling I seek. We’re in the midst of a collaboration with the design software company Autodesk. They are developing a tool that enables us to design textile nets and exert the forces of gravity and wind on them. As an artist, it’s so exciting to be able to draw out textile forms and very quickly understand how they will drape. With this new tool, the computer is giving me feedback in real time that informs my design decisions—it’s pretty great.

Surface Design Journal

JANET ECHELMAN Her Secret is Patience (on display in Phoenix, Arizona) Painted and galvanized steel and cables, changing sets of recyclable high-tenacity polyester braided twine netting, colored lighting with computerized programming, hand and machine knotting, 100' wide at top, 15' wide at bottom, 2009. Photo: Christina O’Haver. Daytime view OPPOSITE PAGE. Photo: David Feldman.

All of my recent works are a combination of machine and handwork. My studio uses handwork to create unusual shapes and irregular joints to make lace patterns within the sculpture. Using proprietary aeronautical computer software written specifically for my work, panels are made stronger with machine-tightened knots engineered to withstand ice storms and hurricane-force winds. We use different high-tech fibers for different parts of the sculpture, just as a spider uses many different types of silk for the various parts of its web. When we want to make large structural spans with delicate rope sizes, we use Honeywell Spectra®, a fiber more than 15 times stronger than steel. We use W.L. Gore when we need 100% UV resistance. Tenara® architectural Spring2013

fiber has exceptional colorfastness and resistance to high temperatures, chemical reactions, and stress that allows the sculpture to withstand sun and wind over time. Your 2011 TED talk has been translated into 33 languages and viewed by more than a million people worldwide. Do you have any advice for artists striving to communicate their vision? When I started making art, my biggest challenge was learning to hear my inner voice. I began writing and drawing with my nondominant hand, which gave me access to my more fledgling, vulnerable ideas that were being overpowered by my more conscious, skilled hand. Once I began to pay attention to these

"I hope my art can be a transformative element in our busy urban lives."

JANET ECHELMAN Every Beating Second (Installation view at San Francisco International Airport) Powder-coated steel, colored fiber, skylights, terrazzo floor, computer-programmed airflow and colored light, braiding, knotting, netting, total area about 15,000 sq. ft. (28.5' x 83.5' x 176.5'), 2011. Photo: Bruce Damonte.

Surface Design Journal

JANET ECHELMAN Water Sky Garden (Installation view outside the Richmond Olympic Oval in Vancouver, British Columbia) Tenara® architectural fiber net forms hung from painted galvanized rings, cedar bridge, fountains, programmed lighting, total garden area about 75,000 sq. ft., 2009. Photo: Christina Lazar Schuler.

new ideas, the biggest hurdle was learning how to respect them—by investing the attention and work needed to develop them. This was difficult, but an important step in my growth as an artist. When developing an idea, I remind myself not to start with compromise. What would result if I had no limits in resources, materials, or permission? I’ve learned that many ideas might be more viable than they initially appear. They just need a chance to mature and develop. In early design phases, I try to disregard both inner and external critics, imagining my goal as a reality, then working backwards to figure out all the steps needed to make it so. I use inspiration and look towards people who have accomplished unimaginable ambitions. If you start with yourself and make sure you fully believe that what you’re doing will create positive change in the world, then you can go out and share your vision with genuine belief. Being authentic is the most important thing when communicating about one’s art. Do you have any new projects on the horizon? Right now, I’m in the middle of the fabrication of an exciting sculpture for the Matthew Knight Arena at the University of Oregon in Eugene. The 30-foot-long form composed of five interconnected smaller forms will highlight the role of spectators and the interconnection of members of the basketball team. Construction has begun for my artwork Pulse for Dilworth Plaza in Philadelphia. I’m excited about how this work reshapes urban experiSpring2013

ence and uses a new material for me—water. Above ground, the artwork traces the pathways of the three subway lines that run beneath the plaza’s new fountain, revealing the urban circulatory system like an X-ray. In real time, a data feed of train arrivals and departures will initiate the movement of 5-foot-tall curtains of “dry-mist” composed of atomized water particles illuminated by colored light. Where would you like to see your work in the future? My dream is to transform hard-edged cities with soft, organic forms—to create spaces that foster calm and contemplation. The question “How can I create this kind of change with something like sculpture?” is what pushes me. To this end, I’m using my new lightweight structural strategies to create a new kind of artwork that can easily attach to the tops of existing skyscrapers, traverse urban airspace, and safely go above roads and public plazas. I’m committed to interacting with people in the midst of their everyday existence because I don’t believe art should be separate from life. And I believe art can be a catalyst for change. Janet Echelman’s website is www.echelman.com. She will be the keynote speaker at in•ter•face, the 17th International Surface Design Association Conference in San Antonio, TX (June 6–9, 2013). To read the brochure and register online, visit surfacedesign.org/2013conference. To read the unabridged transcript of this interview, visit surfacedesign.org/newsblog.

i nformed s ource Jenny Leary In this world, there is no shortage of effects or processes that our senses can register. We see a portion of the electromagnetic spectrum as color. We feel molecular vibrations as temperature. We hear, taste, and smell thousands of various phenomena. At the same time, many aspects of the natural world constantly unfurl around us without our detection. Chiefly fascinating among these effects that pass beneath our radar is magnetism. Magnetic force has stoked millennia of investigation. Greek philosophers revered magnetism. Chinese inventors applied it as a direction finder, first for feng shui and later for navigation. Today, our computers use it as a language to write data. Since beginning to work with textiles, I have wanted to explore the relationship between what is understood and what is not. Textiles are artifacts of technologies that have been mastered, and we take comfort in their familiarity. My particular questions are about how magnetism will endow textiles with a sense of wonder. After making a sample of velvet with steel pile whose tendrils reach out in the direction of external magnetic fields, I became interested in finding more uncanny materials. I carried out this research by acquiring ingredients with magnetic properties and incorporating them into textile-making processes.

Surface Design Journal

LEFT: The first magnetic fabric that fashion designer CLAUDIA LIGARI ordered from JENNY LEARY was a sheet steel lace-like cloth, handmade with a flexible latex grid. Shown here as a completed Ligari dress in 2011. Photo: Jonathan Riggs. Detail ABOVE.

Magnetic fields are basically frozen loops of energy that can be shaped in a variety of ways. In the magnetic stripes of train tickets and credit cards, these loops exist as a dense sequence of lines. I print from them by using iron powder as pigment and liquid latex as the host sheet. Similar to a stamping process with ink or dye, magnetic printing works by gathering iron particles into a pattern that can be transferred to another surface, echoing the shape of the magnetic field’s source. Creating coin purses out of this material is a way of provoking questions about security, visibility, encryption, privacy, data, technology, money, and value. Many experimental textile artists use unconventional materials that have inherently extraordinary visual properties apart from their interactive potential. Although the final goal might be embedded electronics or responsive materials, our fabrics also carry aesthetic value. From 2010 to 2012, I made custom magnetic fabrics for the London-based fashion designer Claudia Ligari. Working with a fashion designer was illuminating. Each season brought new challenges and ideas. The first was a meter of lace-like latex netting that contained steel flakes on over a thousand nodes. Recently, I resumed base-level experiments in magnetizing fabrics with the NanoExtended Textiles group led by Dr. Jesse Jur at Spring2013

TOP: Jenny Leary’s samples of iron and latex fabrics made with magnetic field imprinting technique, 2009. BOTTOM: JENNY LEARY Coin Purse Handmade with latex, iron powder, and magnetic-stripe data, 2009. Photo: James Hollerbach.

North Carolina State University in Raleigh— ground zero for industrial and scientific textile innovation in the US. Access to state-of-art resources is helping to expand my range of metals and polymers to obtain fabrics with significantly high magnetic field strength. We are also working toward screen-printable magnets, morphing textiles, and information-storing fabrics. My driving question continues to be whether textiles—a field concerned with the manipulation of the material world—can address the intangible. Can we pattern that which eludes our understanding? Jenny Leary will teach a 2-day pre-conference workshop at in•ter•face, the 17th International Surface Design Association Conference in San Antonio, TX (June 6–9, 2013). To read the article “Textile Magnetism: An Extraordinary Workshop with Jennifer Leary,” visit surfacedesign.org/newsblog/. To read the conference brochure and register online, visit www.surfacedesign.org/2013conference.

—Jenny Leary holds a BFA in painting from Cornell University in Ithaca, New York, and an MA in Design for Textile Futures from Central Saint Martins, University of the Arts, London. She is currently pursuing a PhD at North Carolina State University College of Textiles in Raleigh. www.tx.ncsu.edu. www.ferrofabric.com

E POSURE SUSAN BRANDEIS Raleigh, North Carolina Lost Language II: Ancient Teachings Cotton, dyeing, resist dyeing, discharge screenprinting, digital printing, stamped, pieced, hand appliquĂŠd, free-motion machine-stitched, handembroidered and quilted, 26.5" x 70", 2011. www4.ncsu.edu/~brandeis/

KERR GRABOWSKI Bay Saint Louis, Mississippi Untitled 3 Cotton mounted on canvas, dye, pastels, graphite, deconstructed screenprinting, drawing, about 7" x 7" each, 2012. Photo: Daise Bankston. www.kerrgrabowski.com MO KELMAN Providence, Rhode Island Mitt Wire, silk, cotton cord, sewn construction, shibori, 30" x 35" x 10.5", 2010. Photo: Chee-Heng Yeong. www.mokelman.com

Surface Design Journal

MARLENE TRUE Columbia, North Carolina Pocosin #1 Recycled tin cans, steel wire, Jax nickel black patina, cut, die formed, forged wire, RT die cut, silver soldered, .5” x 3.5” x 3”, 2011. Photo by the artist. www.marlenetrue.com

KATHYANNE WHITE Prescott, Arizona Forest Book Digital prints on: tyvek, watercolor paper, recycled beverage cans, recycled printers plates, cheesecloth skins, lutradur, handmade amate bark paper, and metal mesh; other materials: twigs, fired paper clay, encaustic, dyed cheesecloth, dyed burlap, loomed knitting pieces, waxed linen, crocheted wire, jute twine and hardware cloth, 48" x 64" x 24", 2012. www.kathyanneart.com

KIM EICHLER-MESSMER Kansas City, Kansas 7.28.10 Cotton, fiber reactive dyes, hand dyed, pieced, quilted, 64" x 35", 2013. www.kimemquilts.com

Artists represented on the “Exposure” pages are members of the Surface Design Association (SDA); www.surfacedesign.org. This issue features the work of members who will teach pre- and post-conference workshops during in•ter•face, the 17th International Surface Design Association Conference in San Antonio, TX (June 6–9, 2013). To read the brochure and register online, visit www.surfacedesign.org/2013conference.

Spring2013

i nr eview New York, New York Reviewed by Nell Znamierowski

Olga de Amaral: Places Nohra Haime Gallery Places, an exhibition by Colombian artist Olga de Amaral at Nohra Haime Gallery in New York (September 13–October 31, 2012), was a breathtaking show of textured and patterned gold walls. Viewers were captivated by an ever-changing display of light reflected on 23 surfaces. Not all were gold leaf, but the sum total was a show that will long be remembered for its shimmering beauty and inventiveness. From her first appearance on the fiber art scene more than four decades ago, de Amaral has always had a definite signature. The work produced in her Bogotá studio reflects the Andes and the richness of early Indian art. I was introduced to this work in 1967 at the Jack Lenor Larsen showroom in New York as a reviewer for Craft Horizons. The pieces were all created in boldly defined colors of two wool layers in slit weaving that interlaced to form a single structure. Meant to be viewed on both sides, de Amaral’s wall hangings seemed to have a direct connection to the woven clothing of early Andean weavers.

OLGA DE AMARAL Nudo 10 (Knot 10) Detail, gold leaf, linen, gesso, acrylic, 177.17" x 11.81", 2011. © Diego Amaral, courtesy of Nohra Haime Gallery.

Structure and color were the backbones of her work from this very first exhibition. She perfected all of this starting in the 1950s with college architecture classes in her native Colombia and weaving studies at Cranbrook Academy of Art in Michigan. In the decades that followed, she had many solo and group shows around the world, received awards and commissions, and found

OLGA DE AMARAL Pueblo Q (Village Q) Gold leaf, gesso acrylic, linen, 39.37" x 78.74", 2012. © Diego Amaral, courtesy of Nohra Haime Gallery.

Surface Design Journal

Olga de Amaral: Places on display at Nohra Haime Gallery, New York, 2012. © Courtesy of Nohra Haime Gallery.

representation in both museum and corporate collections. All this time the work was evolving but never losing touch with the Andes. In 1971 she showed her “woven walls,” large fabric structures of plaited strips—the next step up from slit weaving. Small, three-dimensional, wrapped and coiled sculptures made their appearance in 1973. I first saw gold leaf applied to her strip weaving in 1982. Since then, this preferred color choice has become very much her trademark. As de Amaral herself states, “Gold is the abstract of color.” In Places, gold takes over the eye even though not every piece has a shimmery surface. All but three of the pieces follow a basic structural plan. Narrow woven strips of linen are hand stitched together and then covered with gesso to prepare for the final step of applying either gold, palladium (a variety of platinum), or acrylic paint. The accompanying video shows de Amaral spreading the metal and paint on with wideopen, bare hands. The stitched strips form a canvas that is never uniformly flat. In each artwork, the manner of sewing these strips together varies to form an important part of the compositional flow. Some strips are sewn into swirl patterns or orb and rectangular shapes. The surface of Between Rivers 4 reminded me of waves. On Pueblo O and Pueblo Q, plaited areas alternate with swirls and other shapes. Some stitched strips bulge the cloth and Spring2013

give the effect of hammered ancient gold. All this background action results in an exciting, uneven surface for light to play on, and the piece becomes an ever-changing illusion. The majority of artworks are solid metallic in color, while others have acrylic paint dabbed along the edges or inserted between sections as a counterpoint to the gilt. Three totally acrylic monochromatic pieces lack the significance of their gold and silver neighbors. One white “wall” with additional color is a lovely textural piece but also recedes from its glowing competition. As complex and labor intensive as most of the wall hangings are, three sculptural pieces speak to the simplicity and beauty of plain fiber. Thick hanks of fine linen yarn (painted gold, black, and an intense blue) hang from the ceiling by large loops that fall to pool on the floor. Although visitors left the Manhattan gallery bedazzled by the glitter and complex artistry, it is interesting to note that the genesis for all of the work is in the artist’s natural and ancient surroundings. www.nohrahaimegallery.com —Nell Znamierowski is a retired textile designer, color consultant, and professor at the Fashion Institute of Technology in New York. She has written about textiles and related subjects since the 1950s.

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Surface Design Association History Founded in 1977, the Surface Design Association is an international not-for-profit organization with an office in Sebastopol, California. SDA seeks to raise the level of excellence in textile surface design by inspiring creativity and encouraging innovation through all its undertakings. Our current membership of nearly 4000 national and international members includes independent artists, designers, educators, curators and gallery directors, scientists, industrial technicians, entrepreneurs, and students. Publications and Website Surface Design Journal, the Association’s quarterly magazine, offers in-depth articles on subjects of interest to contemporary textile artists, designers, and other professionals in the field. Each issue is designed around a theme relevant to surface design and offers perceptive commentary unequaled by any other peer publication. Accompanying each article are full-color reproductions of work by leading-edge artists.

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