Surface Design Journal - Spring 2015 - Sample Issue by Surface Design Association

SURFACE DESIGN JOURNAL - Spring 2015

We live in an age where everything is being reexamined, overhauled, and reinvented, from basic infrastructure and communication to the production of food and textiles. Nearing its 40th anniversary as a leader in the fiber-arts field, Surface Design Association is part of this revitalization movement in the new millennium. The notion of “unweaving” existing forms and methods to better understand their potential is at the heart of this issue. The theme Warp Speed explores artistic approaches to deconstructing the known as a way of discovering dynamic new interpretations. Cover artist Aiko Tezuka unweaves textiles she finds (and designs) to create wholly original wall works and installations. Throughout this issue, technological advances and art historical traditions are major sources of inspiration. Margo Wolowiec transforms imagery harvested from the Internet into abstract handwoven glimpses of the Postdigital age. Faig Ahmed’s optical illusions are designed with computer software but woven into captivating wool carpets by the traditional Azerbaijani weavers of his region. Artist and educator Vic De La Rosa pinpoints the rise and rapid development of laser cutting technology energizing creative output in every area of the fiber field. In response to my pledge drive letter asking for help to continue publishing the Journal (posted on the SDA website last December), the generosity and continuing support of thousands of dedicated members, staff, and fans worldwide was awesome. My heartfelt thanks to all of you for believing in the educational mission of SDA and the importance of the Journal. SDA is in a process of careful restructuring that will allow us to thrive in the future. Exciting initiatives include the addition of a digital edition of the Journal as a new member benefit. For this year only, we will publish three print issues: Warp Speed (Spring 2015), Made / Aware (Summer 2015), and Wax & Fiber (Fall 2015). We will return to our quarterly schedule next year with Transforming Traditions (Spring 2016). Email suggestions for artists, trends, and themes are always welcome. My editorial research and networking will expand exponentially in May when I attend

DEBRA M. SMITH (SDA Member) Shifting Territory Vintage silk (kimono and mens suit lining), piecing, 85" x 66", 2014. Included in Rijswijk Textile Biennial 2015 at the Rijswijk’s Museum, The Netherlands. Photo by the artist.

the 17th European Textile Network Conference and Textile Festival 2015 in Leiden, The Netherlands. Tours include the Museum Rijswijk to see the 4th Rijswijk Textile Biennial 2015, featuring work by SDA members Amanda McCavour and Debra M. Smith! I look forward to meeting and learning more about our European SDA and ETN members. Setting my sights on the fall, I have already registered and purchased airfare to attend SDA’s first Craft + Concept Intensive 2015, Made / Aware: Socially Engaged Practices (October 8–11, 2015) at Arrowmont School of Arts and Crafts in Gatlinburg, Tennessee. To learn more, visit surfacedesign.org/conference2015. Registration is now in full swing and I hope to see you there!

Marci Rae McDade journaleditor@surfacedesign.org

COVER CREDIT: AIKO TEZUKA Certainty / Entropy (Japan 2) Detail, unwoven fabric designed by the artist with colored warp threads, fabric length 32.8', (installation size: 9.8' x 19.7' x 9.8'), 2014. Installation at Art Basel Hong Kong, 2014, booth of Galerie Michael Janssen. Courtesy of Galerie Michael Janssen Berlin-Singapore. Photo: Gabriel Leung. 4

Surface Design Journal

SURFACE DESIGN JOURNAL - Spring 2015

Surface Design Journal

features 06

Margo Wolowiec: The Elusive Narrative by Leora Lutz

On Target: Trends in Textiles and Technology

by Deborah Corsini

Restoration Liberation: Aiko Tezuka by Thomas Cronenberg

Randy Walker: Making Connections by Christina Chang

Identity in Cloth: Adrian Esparza by Elizabeth Kozlowski

Finlandâ&#x20AC;&#x2122;s Ryijy Rug Revival by Mason Riddle

Faig Ahmed: Rethinking Tradition by Jessica Hemmings

Precise Expression: The Laser-cut Edge by Vic De La Rosa Surface Design Journal

SURFACE DESIGN JOURNAL - Spring 2015

Spring 2015 Volume 39 Number 2

departments 50

Exposure A gallery of recent work by SDA Members

In Review Thread Lines New York, New York Finland: Designed Environments Minneapolis, Minnesota Making Otherwise: Craft and Material Fluency in Contemporary Art Ontario, Canada Fiber: Sculpture 1960â&#x20AC;&#x201C;Present Boston, Massachusetts

Emerging Voices Erin Miller

In Print Cultural Threads: Transnational Textiles Today

First Person Robert Mertens

Legacy Ethel Stein

Spotlight on Education West Dean College Tapestry and Textile Art Programs

Informed Source

Gabriel Pionkowski

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SURFACE DESIGN JOURNAL - Spring 2015

A i k o

T e z u k a

Restoration Liberation b y

T h o m a s

C r o n e n b e r g

Japanese artist Aiko Tezuka started out as a painter. But her exploration of surface—and that which lies behind it—have led her away from painting and ever deeper into the realm of textiles as a new form of expression. “I am interested in layers,” the 38-year-old said in an interview at her studio in Berlin. She has lived here since 2011, following a brief stint in London. After training as a painter in Tokyo and earning a PhD in Kyoto, Tezuka found herself less interested in painting and more interested in the canvas and what lies beyond it. Even while she was still painting, the act and art of applying layers of color to stretched linen made Tezuka increasingly fascinated with canvas, its structure and makeup. “I realized I was not interested in composition; I wasn’t interested in the surface, but what was behind it, and how it became that way.” She realized that there was a whole unseen realm lurking under the surface, including the time element involved in creating. She looked for ways to (symbolically) bring this out in the open. Tezuka came upon the idea of unweaving about 18 years ago. Her motive was to remind the viewer of the time factor involved in creation—all those unseen and undocumented hours. She began unpicking textiles, starting with industrially produced heavy woven jacquard fabrics reminiscent of tapestry carpet bags. These were chosen 18

Surface Design Journal

SURFACE DESIGN JOURNAL - Spring 2015

ABOVE: AIKO TEZUKA Two Identical Fabrics Extracted Threads 1 Unraveled identical scarves from the fast-fashion brand H&M, 182" x 72" each, 2011. Photo: Takeru Koroda. Collection of the artist. LEFT TOP: AIKO TEZUKA Extracting Warp Threads - Five colors Warp threads extracted from readymade fabric, 70.7" x 165.4" (27.55" diameter per panel), 2004. Installation at ARTCOURT Gallery, Osaka, Japan. Photo: Kazuo Fukunaga. Collection of the artist. LEFT BOTTOM: AIKO TEZUKA Rewoven Unraveled fabric, wooden frame 106.3" x 94.9" x 76.4", 2005. Installation at @KCUA Gallery, Kyoto Art University of Ars, Kyoto, Japan. Collection of the Museum für Kunst und Gewerbe Hamburg. Photo: Takeru Koroda. Spring2015

SURFACE DESIGN JOURNAL - Spring 2015

AIKO TEZUKA Certainty / Entropy (Peranakan 1) Unwoven fabric designed by the artist with colored warp threads, fabric length 78.8' (installation size about 49'), 2014. Installation at Third Floor Hermès Singapore. Courtesy of Galerie Michael Janssen Berlin-Singapore. Photo: Edward Hendricks.

because they were readily available and had a complex structure, including multi-colored threads. Tezuka started to unpick them, thread by thread, line by line. The warp or weft threads remain and form the focus of the new work. The artist chose a circle in the center of the canvas to unpick, inspired by the focus of a lens. This choice is also vaguely reminiscent of Japan’s Hi no Maru national flag, featuring a red circle in the center of a white field. In other pieces, the shape Tezuka has chosen to unpick is an oval, reminiscent of a human head. The focus of the new work is squarely on the unpicked areas. In her early deconstructed works, the exposed threads emerging from the center of the rectangular surface develop a considerable presence of their own, moving the flat plane of what was essentially a painting into three dimensions. At the same time, Tezuka reveals hints of all that lies beneath the surface of the stretched canvas. The large installation piece Extracting warp threads – five colors takes this concept further. In this work, five different colors of warp threads (extracted from six circular panels of commercial jacquard tapestry fabric) are taken out of each pair of adjoining panels to form five “bouquets” of vivid colors between each large 20

circle of fabric. Because the overall tone of the five fabric circles is rather somber, the bright green, magenta, turquoise, black, and cyan of the extracted threads comes as something of a surprise. All of these colors lie just below the surface. Tezuka has managed to unearth them, and at the same time, a part of the unseen weaving process and practice. In Rewoven, the effect is the opposite. Threads extracted from two different commercial jacquard fabrics are attached to the left-hand and right-hand edges of a simple wooden stretcher frame. They meet in the center of the piece, coarsely rewoven into a new fabric, the color of which is an inexpressive sludgy grey. Tezuka’s formal training as a painter and her lack of formal training in textiles may have aided her reception in an art world that has, until recently, generally looked down on craft-based art. Having come from painting, the artist now inhabits a unique slot somewhere between art and craft, between an academic and a hands-on approach. Tezuka has mulled the hierarchy of art, in which she says painting still comes out on top and stitching and crafts figure on the lower tiers. She places her work somewhere between sculpture, painting, craft, textiles, and design. She plays with this concept in stitched Surface Design Journal

SURFACE DESIGN JOURNAL - Spring 2015

AIKO TEZUKA Certainty / Entropy (Peranakan 2) Unwoven fabric designed by the artist with colored weft threads, wooden frame, 30" x 28", 2014. Installation at Third Floor Hermès Singapore. Courtesy of Galerie Michael Janssen Berlin-Singapore. Photo: Edward Hendricks.

works, notably in Fragile Surface—Cat’s cradle I, where finger games of interlacing threads are a stand-in for handiwork in crafts. The large 2012 installation Lessons for Restoration (sewing) also centers on stitched images of hands. Today, Tezuka’s process has taken on aspects of a workshop, with a team of assistants at her Berlin studio. Unpicking while maintaining the material integrity of the fabric is a slow and painstaking process. Her compositions have become so large and her exhibition commitments so vast that they could not be tackled without help. Tezuka has had shows in galleries

and museums around the world, as well as in her native Tokyo. Commercial fabrics, including scarves from a high street retailer, are the focus in pieces such as Two Identical Fabrics Extracted Threads. Tezuka moved on to incorporate ornate brocade fabrics featuring gilt thread used in elaborate Japanese wedding kimonos. Her recent work features fabrics custom-made to her specifications. “I wanted to create my own fabrics. When I am not here, the fabrics will survive.” In a series of works installed at Third Floor Hermès Singapore, the artist explored

Spring2015

SURFACE DESIGN JOURNAL - Spring 2015

AIKO TEZUKA Certainty / Entropy (Japan 2) Unwoven fabric designed by the artist with colored warp threads, fabric length 32.8', (installation size: 9.8' x 19.7' x 9.8'), 2014. Installation at Art Basel Hong Kong, 2014, booth of Galerie Michael Janssen. Courtesy Galerie Michael Janssen BerlinSingapore. Detail INSET. Photos: Gabriel Leung.

Surface Design Journal

SURFACE DESIGN JOURNAL - Spring 2015

AIKO TEZUKA Suspended Organs (Kitchen) Secondhand tablecloth (probably made in 1920's Germany) and metal tray, stitching on cloth, 88.2" x 89.8" x 15.8", 2013. Installation at Künstlerhaus Bethanien, Berlin, Germany. Photo: Ute Klein.

regional textile traditions. She used local Singaporean peranakan fabrics—hybrid designs inspired by Chinese, Malay, Indian, English, and Irish imagery that were historically woven for export—as a basis. Onto those, she superimposed a series of contemporary symbols, including the logos of major credit cards, the @ symbol used in e-mail addresses, and the DNA double helix. She had these composite designs translated into the digital jacquard process and woven by a team of technicians at Tilburg Textile Museum’s specialist TextielLab workshop in the Netherlands. Tezuka then unwove these very precious fabrics to form the large-scale 2014 installation pieces Certainty/Entropy (Peranakan 1) with its elegant sweep of warp threads, and the more intimate Certainty/Entropy (Peranakan 2). In her most ambitious piece to date, Ghost I met, she designed two enormous panels, one featuring Asian and the other Western imagery in black superimposed onto ornate fabric with designs from each cultural bloc. The fabrics were woven in the complex EPOTEX multicolor weaving process by Japan’s renowned Kawashima Selkon company in Kyoto. The works Tezuka has created in Berlin using locally sourced materials generally feature very humble fabrics, including pre-war 20th century utilitarian linens, which turn up at flea markets. In Suspended Organs (Kitchen), linen from a kitchen towel rack flows toward the floor,

held by a found brass tray. The imagery is perhaps a reflection of her groundedness, living and working in an apartment studio in Berlin’s affordable, multicultural Kreuzberg district. Whether on an intimate scale in her stitched pieces, her extracted-thread “portraits,” or her room-sized museum installations, Tezuka’s works are arresting, accomplished, and original. She succeeds in her intention of drawing our attention to the surface beyond the surface; of exposing the layers of work we generally do not notice as we appreciate a finished, embellished surface. At the same time, she creates something new: not a mere deconstruction, and certainly much more than a reconstruction. It is the unexpected and wholly new results that take her work beyond a merely clever intellectual or theoretical exercise and (back) into the realm of creative experimentation. Aiko Tezuka’s solo exhibition Lessons for Restoration will be on display at MAGO, a new art institution in Eidsvoll, Akershus, Norway (June 27–September 27, 2015), www.mago.no. She is represented by Galerie Michael Janssen BerlinSingapore, www.galeriemichaeljanssen.de; and Mikiko Sato Gallery in Hamburg, Germany, www.mikikosatogallery.com. www.aikotezuka.com

—Trained journalist and weaver Thomas Cronenberg studied tapestry at West Dean College, UK. He exhibits internationally and writes about textile art. www.tapart.de

Spring2015

SURFACE DESIGN JOURNAL - Spring 2015

E POSURE

PAVLOS MAYAKIS Mendocino, California Yafo #1 Cotton yarn, textile paint, acrylic paint, loom-controlled shibori, hand stitching, painting, mixed-media assemblage, 36" x 37" x 2", 2014. Photo by the artist www.pavlosmayakis.com JULIET MARTIN New York, New York Carnival Kiss Yarn, handwoven fabric, safety pins, SAORI (Japanese) handweaving, 30" x 19" x 12", 2012. www.julietmartin.com

DELANEY SMITH Houston, Texas See Syd (with detail) Decontextualized book, silk, paper, ink, screenprinting, handweaving, coptic binding, 14" x 22" x 12", 2013. Photo by the artist. www.delaneysmithstudio.com

Surface Design Journal

SURFACE DESIGN JOURNAL - Spring 2015

LIZ DEBELLIS HUGHES Cardington, Ohio Quail Hollow (front and back views) Hand-dyed cotton, hand eco-dyed cotton fabric, jacquard weaving, 54" x 60", 2014. Photo by the artist. www.lizdebellis.net

CATHRYN AMIDEI Ann Arbor, Michigan Emancipator (with detail) Mercerized cotton, rayon and polyester machine embroidery thread, rayon chenille, handwoven jacquard with supplementary weft, 67" x 41", 2014. Photo by the artist. www.cathrynamidei.com Artists represented on the “Exposure” pages are members of the Surface Design Association (SDA). This issue features the work of members who have populated their SDA profile pages with images and information about themeselves and their work. This free and easy online membership benefit adds to the SDA Image Library and Member Directory; both are valuable research tools for curators, writers, collectors, and artists from all over the world. To learn more, log into your member account and follow the prompts, or visit the Gallery link at surfacedesign.org. Spring2015

SURFACE DESIGN JOURNAL - Spring 2015

i nr eview Ontario, Canada Reviewed by Lycia Trouton

Making Otherwise: Craft and Material Fluency in Contemporary Art Carleton University Art Gallery (CUAG) A serious display of fiber-art hybridity energized Making Otherwise: Craft and Material Fluency in Contemporary Art (May 12–September 14, 2014) at Ontario’s Carleton University Art Gallery (CUAG). This traveling group exhibition is playfully arranged around the theme of textiles and ceramics, featuring works that turn traditional fiber techniques, such as basketry and knitting, on their heads. These forms focus on an unraveling or reverse-engineering of typical craft processes that conceptually relate to Canada’s current post-colonial era. Mi’kmaw basket weaver Ursula Johnson from Nova Scotia has the most poignant work in the selection. Using a white ash splint weaving technique learned from her great grandmother, Johnson creates upside-down basket “portraits” that analyze the colonization of Canada. Her titles, such as Female, Status 6.2, Disenfranchised, Off-reserve, pique the viewer’s curiosity about the systemic use of categorization of First Nation’s Indian registration and membership codes. Ghostly white and upturned, this series of hat-like basketry busts, titled L’nuwelti’k (We are Indian), memorializes living persons, yet “marks” them by Canada’s colonial system of naming by the-letter-of-the-law, which has implications for one’s life passage.

URSULA JOHNSON Female, Status 6.2, Disenfranchised, Off-reserve, L’nuwelti’k (We Are Indian) Black ash, splint weaving, 16.75 " x 19" x 6.75", 2014. Photo: Patrick Lacasse.

Another new type of portraiture is seen in the “unraveling” work by Janet Morton in collaboration with a dancer, a musician, and a filmmaker. In Road Trip, the dancer’s sole purpose during a four-hour performance (edited down to 60 minutes) is to unravel his tight-fitting white knit bodysuit while on a seemingly never-ending perambulation through the artist’s suburban hometown of Guelph, Ontario. Each street scene offers a unique window into contemporary Canadian life, complete with Plaster-of-Paris lawn sculptures, Monster trucks, and gas stations. The final shot is of the male nude in the landscape, subverting the typical notion of “the gaze.” In Shiny Heart, Morton uses a film reversal technique to share a musical performance by her partner playing the tuba. Her grey knitting, which covers his instrument, gradually unravels during one of Glen Gould’s compositions, perhaps signifying the harrowing effects of a mood disorder (and yet, how creativity prevails). Unraveling on a more internal level is seen in the work of fiber artist (and self-confessed schizophrenic) Richard Boulet from the Alberta Prairies. His pieced and stitched wall work Regret and Redress: Keeps It All

JANET MORTON Road Trip Video still, 2012. Courtesy of the artist and Paul Petro Gallery, Toronto, Ontario, Canada.

Surface Design Journal

SURFACE DESIGN JOURNAL - Spring 2015

ABOVE: JANET MORTON Shiny Heart Video still, 2012. Courtesy of the artist and Paul Petro Gallery, Toronto, Ontario, Canada. RIGHT TOP: RICHARD BOULET Regret and Redress: Keeps It All Neat and Tidy Quilting, appliqué, cross-stitch, 51" x 65.25", 2006. Detail LEFT TOP. Photos: Justin Wonnacott. RIGHT: SARAH MALONEY Collapse Antique fainting couch, bronze, fabric, 25" x 76.9" x 27.9", 2009. Photo: Justin Wonnacott.

Neat and Tidy openly explores his childhood fantasies of fitting into—or fleeing from—a middle class world to which he felt he did not belong. Finally, Sarah Maloney (also from Nova Scotia) built Collapse, an upholstered chaise lounge upon which one cannot recline in comfort because it is “planted” with a garden of sharp bronze tulips. This sculptural work and series of two-dimensional paisley panels, each with a central image of an embroidered tulip, are a comment on middle-class anxieties about “uprooted” individual finances and the precariousness of speculative markets. All of the artists featured in Making Otherwise encourage the viewer to overhaul

one’s typical ideas of consumption in our daily lives, as well as in Indigenous/non-Indigenous relations such as reconciliation. CUAG Curator Heather Anderson, formerly with the National Gallery of Canada, developed the exhibition with an Ontario Arts Council grant. cuag.carleton.ca Making Otherwise will be on display at Art and Design Idea Exchange Gallery in Cambridge, Ontario, Canada (May 1–June 27, 2015); www.ideaexchange.org.

—Lycia Trouton, PhD, is a contemporary craft and fine art historian/theorist with a specialization in textile arts. She is also a sculptor, installation and social practice artist. www.lyciatrouton.com

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SURFACE DESIGN JOURNAL - Spring 2015

w h o

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• Get promoted! Use SDA Website Calendar to publicize your workshop or exhibition. • Share the passion! Borrow 1 of 3 SDA Swatch Collections to inspire a class or local meeting with this extraordinary educational resource (also downloadable). • Get funded! SDA Grants & Awards can help support your personal development or local textile arts lectures & events.

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Join online at surfacedesign.org/membership