Surface Design Journal - Summer 2012 - Sample Issue

Copyright Surface Design Journal速. Not to be reprinted. All rights reserved.

Copyright Surface Design Journal®. Not to be reprinted. All rights reserved.

Surface Design Journal

Summer 2012 Volume 36 Number 4

f e a t u r e s 06

06 Iconic Twist: Cindy Hickok

by Katey Schultz

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Marc Dombrosky: The State of the Republic, Writ Small

by Mary Smull

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Making it in NYC

by Joetta Maue

22 The Stitched Statements of Mary Ruth Smith

by Todd Turek

28 The Altered Image

by Jamie Chalmers

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34 Erin Endicott’s Embroidered Histories

by J. Susan Isaacs

38 Rock Hushka: A Prick of the Needle

by Alison Gates

42 Threads of Peace in Rwanda 34

by Kathleen F. Malu

COVER CREDIT: MAURIZIO ANZERI Yvonne Hand embroidery on vintage photograph, 9.1" x 6.5", 2011.

Photo: © MAURIZIO ANZERI. Shown courtesy of Saatchi Gallery, London.

Summer2012

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Copyright Surface Design Journal®. Not to be reprinted. All rights reserved.

Surface Design Journal

Summer 2012 Volume 36 Number 4

d e p a r t m e n t s 46

Exposure A gallery of recent work by SDA members

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First Person Paula Chung

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Spotlight on Education Indiana University–School of Fine Arts Textiles Department

ABOVE: LAURA ORTIZ VEGA ChacaloFlow (detail) Thread and bees wax on board, 8" x 39.5", 2011.

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In Review Liza Lou: Let the Light In Savannah, Georgia Fiber Futures: Japan’s Textile Pioneers New York, New York Kathy Halper: Friend Me Chicago, Illinois Vita Plume: Fabrications Halifax, Nova Scotia Stephanie Hirsch, Laura Ortiz Vega and Cayce Zavaglia New York, New York

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A Letter from Jane Dunnewold, our new SDA President Surface Design Journal

Copyright Surface Design Journal®. Not to be reprinted. All rights reserved.

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Cultivating Community Starting a new job is exciting, especially when the work is something you love to do.

This spring, I was delighted to begin introducing myself as the new editor of Surface Design Journal. In early March, I attended the Northwest regional Surface Matters SDA conference in Seattle, Washington. The gathering began with a thought-provoking panel discussion about the future of the field. I participated in this dialogue with artist/educator Lou Cabeen, Barbara Lee Smith, and Jane Dunnewold (our new SDA President—don’t miss Jane’s rousing letter to all of our members on page 63).

Later that month, I traveled to Conshohocken, Pennsylvania, for the international Identity: Context and Reflection SAQA/SDA conference that coincided with FiberPhiladelphia, a city-wide celebration of textile art. I saw dozens of exhibits filled with sensational pieces from all over the world. For more about my marathon art adventure, a review of highlights will be posted to the SDA Newsblog later this summer at www.surfacedesign.org/newsblog.

I shook many new hands along the way, savoring every chance to share the vision of SDA and the Journal.

This active personal approach to cultivating community reminded me of a project called Second Nature by Jody Dunphy, an MFA student I mentor in my hometown of Portland, Oregon. Jody first created a series of handmade felt and paper wearable-art pieces filled with flowering bulbs and seeds. She then wore and gave away these objects of adornment during public happenings around town. By sharing the symbolic and physical potential of sowing seeds to beautify one’s home or neighborhood, Jody hopes participants will connect with nature through “small but extraordinary experiences.”

I was so inspired by Jody’s generosity and commitment to using fiber as a catalyst for change that I gave her an SDA Student Membership.

Inviting young people to experience our supportive community and vast resources firsthand affords wonderful opportunities for us to encourage the next generation, but also to learn from their current interests and fresh perspectives.

Is there a student in your life who would appreciate and benefit from a gift of an SDA Student Membership?

This issue is dedicated to embroidery. Throughout, you will discover poignant tactile approaches to connecting with others in meaningful ways. Sewing as a transformative act is evident in the forgotten cardboard signs of Las Vegas artist Marc Dombrosky, the vintage photographs of Italian artist Maurizio Anzeri (featured on the cover), and the postcards of incarcerated artist Wayne “Skid” Lo. The restorative power of stitch is considered in Erin Endicott’s elegant yet abject images, historical contemplations on healing by Rock Hushka, and narrative scenes of renewed hope and reconciliation from Rwanda, Africa. I hope you enjoy these and other fascinating stories in this issue.

-Marci Rae McDade journaleditor@surfacedesign.org

C o r r e c t i o n s SDJ Spring 2012, Vol. 36, No. 3 In the article “Authentic Hybrids in African Fashion” by A. M. Weaver, Duro Olowu’s last name was misspelled in the text; www.duroolowu.com.

On page 24, Bisrat Negassi’s last name was misspelled within the image; www.negassi.com.

We apologize for any inconvenience these errors may have caused.

ABOVE: JODY DUNPHY Sprout Ring Handmade felt, calendula seedling, 2011.

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Copyright Surface Design Journal速. Not to be reprinted. All rights reserved.

Copyright Surface Design Journal®. Not to be reprinted. All rights reserved.

The

Altered Image b y

J a m i e

C h a l m e r s

In the digital age, we have become desensitized to altered images. All around us are airbrushed pictures and objects that have been transformed in unseen ways before we discover them. We lose connection with this method of manipulation as it becomes prevalent in our society, and as such we lose sight of the magic that has been created.

Fortunately, the power of stitch helps redress the balance, and the application of thread to existing images still retains the ability to amaze and surprise. In this article, we examine the work of three embroiderers who use stitch to modify appropriated photographic imagery. These artists are the tip of the altered-image iceberg, yet their work provides a tantalizing glimpse of the power of this multimedia practice.

London-based Italian artist Maurizio Anzeri has become internationally recognized for his embroidered “photosculptures,” taking vintage photographs, sourced from flea markets and car boot sales, and enhancing them with geometric embroidered designs. Charming and nostalgic, the original portraits are transformed by Anzeri’s crisp, sharp thread patterns into modernist icons. “Nothing is bigger in my head than a face, it’s the best landscape we can look at,” proclaims Anzeri. “It’s all to do with the center, the body.”

Black-and-white studio headshots act as a perfect stage upon which Anzeri creates his work. The expression of the subject is often sombre, but Anzeri’s use of color and linework add emotion and visual tension; muted tones become richer when placed against the monochromatic backgrounds and designs are often layered, building up the density with a clockwork-like sense of movement.

“When I begin the stitching, something else happens. Drawing will never do what thread will—the light changes, and at some points you can lose the face, and at others you can still see under it.”

Anzeri brings the anonymous subjects of his pieces back to life by weaving them into a new story for our modern-day consumption. A distinct alchemy takes place with each picture; using tracing paper, he works his designs outward from the subject’s eyes, and their ornate narratives emerge as the patterns grow.

From there he pierces the photos using deliberate spacing to create the geometric effects, and then the stitching begins.

Akin to seeing auras, Anzeri turns ordinary people into works of fiction as though they were gods and goddesses. “Like a costume or other identity, my work reveals something that is behind the face that suddenly becomes in front. It’s like a mask—not a mask you put on, but something that grows out of you.”

TOP LEFT: MAURIZIO ANZERI Edith Hand embroidery on photograph, 9.1" x 6.5", 2011.

TOP RIGHT: MAURIZIO ANZERI Robert Hand embroidery on photograph, 9.4" x 7.1", 2011.

BOTTOM RIGHT: MAURIZIO ANZERI Rita Hand embroidery on photograph, 9.3" x 6.9", 2011.

BOTTOM LEFT: MAURIZIO ANZERI Penny Hand embroidery on found photograph, 9.4" x 5.1", 2009.

Photos: © MAURIZIO ANZERI. Shown courtesy of Saatchi Gallery, London.

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MATTHEW COX Avatar #5, Medusa Thread, hand embroidery on X-ray, 18.75" x 12", 2011.

Photos by the artist. Shown courtesy of Packer Schopf Gallery, Chicago.

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Surface Design Journal

Using a modern approach to the craft of symmography (string art), Anzeri acknowledges the importance of the Surrealist movement in his work. “Art history is very important to me. It’s all been done before, but it’s never been done by you; if you don’t look into the past, there is no chance to go into the future.”

He describes his pieces as sculptures because the embroidery feeds the photos, breaking them free from their two-dimensional constraints. This sentiment is echoed by the Saatchi gallery in London, who conclude, “The combined media gives the effect of a dimension where history and future converge.”

Where Anzeri starts with the outer layers of his subject, Philadelphia-based artist Matthew Cox begins at a much deeper level.

With medical X-rays and MRIs as his base material, Cox uses embroidery to introduce us to the subjects of the scans. A prolific artist who creates a wide range of work in fiber, mixed media, and painting, his recent Heartthrobs and Avatars series includes familiar pop culture icons and characters from mythology.

MATTHEW COX Avatar #6, Ganesh (with hairpins) Thread, hand embroidery on X-ray, 14.5" x 10", 2012.

Shown courtesy of Packer Schopf Gallery, Chicago.

MATTHEW COX Hearththrob #5, Popeye (with sunglasses) Thread, hand embroidery on X-ray, 24" x 21.5", 2011.

Shown courtesy of Packer Schopf Gallery, Chicago.

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Cox obtains his source material from friends in Australia, where patients are allowed to keep their own X-rays. Like Anzeri, whose source images inform the initial direction of each piece, Cox decides the outcome before the stitching begins: “Often x-rays have areas that are crisper, lighter, or just more interesting than others, so I choose to leave that area exposed and improve the other space with embroidery.” From this point the creative journey begins. Cox uses thick satin stitches to flesh out the subject of each piece, working up color to create depth and shadow.

The X-rays give little indication of their actual owners, which gives Cox “an opportunity to not only redefine materials but also the imagery, which comes loaded with preconceptions.”

Cox’s choice of popular icons in many of his pieces serve as an exploration of modern myths; Medusa’s snakes spring forth from an X-rayed skull, grounding her in our realm and blurring the lines between reality and fiction. Popeye’s muscled forearm is attached to a chest shot—the cartoon turning mortal before our eyes.

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WAYNE “SKID” LO Bluff the Magic Dragon (with detail of back) Thread, hand embroidery on photograph, 5" x 7", 2009. Photos: Bill Shafer.

Shown courtesy of Hyaena Boutique & Gallery, Burbank, California.

WAYNE “SKID” LO Existitchialism Thread, hand embroidery on manila, 8.75" x 11.5", 2012.

Shown courtesy of Hyaena Boutique & Gallery, Burbank, California.

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By using stitch to explore the tension between truth and myth, Cox eases the contrast making it easier to process. The threads act as a bridge between the two states but, by way of familiarity, one that feels safe to cross. The embroideries reinforce a reminiscence of childhood when myths and stories felt very real; once again we are filled with a sense of wonder as we witness characters coming to life.

While Anzeri’s art employs simple geometric stitching and Cox uses a density of threads to create his characters, our final embroiderer combines both styles, through unusual circumstances, to produce his altered images.

Taiwanese-American artist Wayne “Skid” Lo is uniquely placed in the field of embroidered art, as he is currently serving two life sentences with no chance of parole in a Massachusetts prison. Confined and unable to access traditional embroidery materials and training, Lo’s work is understandably naïve. His use of everyday objects like old postcards, tablet paper, and personal photographs arose as a simple solution to the challenge of finding robust materials to stitch on after discovering a sewing repair kit in the prison store. These limitations define his creative possibilities and narrow the field of exploration.

“Being in prison, one tends to be more ‘green,’ if you will,” Lo explains. “We learn to conserve items and put things to multiple uses instead of just throwing things away.”

Many of Lo’s early pieces feature whimsical subjects created from the backgrounds of postcards such as Bluff the Magic Dragon erupting from the face of a cliff. Lo uses single strands of sewing thread in layers, criss-crossing the elements of his design to build up shape and texture. His palette is limited by available materials, but Lo compensates by combining blocks of color to boost the energy and charm of his work.

“I think about what I can embroider to enhance the background. I utilize the geography and colors to produce something funny, fantastic, eerie, mysterious, or just plain weird!”

Akin to that of Cox, Lo’s bizarre creations evolve from familiar settings, yet recent pieces appear to head in a more modernist direction similar to that of Anzeri. Steering away from the realm of fantasy towards something more aesthetic and refined, the rigidity of Lo’s work has continued with increasing precision. Highly

Summer2012

detailed and densely stitched geometric shapes now fill the page in harlequin colors. Whereas the creature pieces used stitch to turn pictures of the outside world into escapist adventures, Lo’s recent embroideries such as Existitchialism turn his attentions inward, reflecting on the meditative process and tactile materials of production.

Rather than create social commentary, Lo’s intent in making and selling his work is to raise funds for the Galen Gibson Foundation, established in honor of one of his victims. Lo’s incarceration, the very circumstance that makes his embroideries so unique, also inevitably frames his work in a more charged context that amplifies public response. Despite the innocence of his intentions, the shock value assigned to his art output affects its consumption.

In these three instances of image-altering embroidery, we see that each artist is transforming an existing reality into a new narrative.

Maurizio Anzeri’s work elevates figures from a bygone era to the lofty realm of gods, allowing us to appreciate their virtues from a new perspective. Matthew Cox carves out windows for us to see inside fictional characters, drawing them into our world to reconsider the strengths and weaknesses of their mythology. Wayne Lo conjures up unexpected creations from ordinary background images, overcoming his own limitations to tell stories and weave magic.

These different versions of the same handcraft remind us of the infinite possibilities that come from this simple, yet clever, creative form. The methodical and meditative process of stitching is within our grasp, empowering each of us to explore its potential and play with reality to create new narratives from images of our own.

Maurizio Anzeri is represented by Saatchi Gallery, London; www.saatchi-gallery.co.uk. Matthew Cox’s website is www.matthewcoxartist.com. He is represented by Packer Schopf Gallery, Chicago; www.packergallery.com. Wayne “Skid” Lo’s website is www.skidlo.net. He is represented by Hyaena Gallery, Burbank, California; www.hyaenagallery.com.

—Jamie Chalmers (aka Mr X Stitch) runs the popular contemporary embroidery website www.mrxstitch.com, and he is author of PUSH Stitchery: 30 Artists Explore the Boundaries of Stitched Art (Lark Books, 2011). His embroidered artwork has been shown internationally, and he has curated numerous textile-art exhibitions in the United Kingdom.

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Copyright Surface Design Journal®. Not to be reprinted. All rights reserved.

X

E POSURE TOP: ALICE BRITT Seattle, Washington Kiwi Blossom (necklace) Silk charmeuse, Arashi shibori dyed, discharged, over-dyed and shaped over wire armature, beaded accent handwoven with about 800 Japanese Miyuki beads,16" diameter, 2011.

Photo: Jerry McCollum. www.silkroadcreations.net.

CENTER: JOYCE HAYES Seattle, Washington Conciliation Fall Linen warp, cotton weft, polysheen for soumak; tapestry and hand-painted watercolor paper mounted on plexi-glass, 9.5" x 12.5" x 1", 2009.

Photo: Cecil Hayes. www.joycehayestapestry.com.

BOTTOM: PEGGY O’HERON Seattle, Washington If You Give Layers of silk backed with felt, dyed, discharged, printed, and handstitched, 17" x 32", 2012.

Photo: Craig Rowley. www.peggyoheron.wordpress.com.

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Surface Design Journal

TOP: BARBARA ZANDER Seattle, Washington Seascape Series Silk construction, metal, hand-dyed silk, pleated, screen printing, gold mica, 14" x 36", 2011. www.barbarazander.com.

RIGHT: AMANDA BRENNANMELBOSTAD Portland, Oregon A Felted Fit (blouse and skirt) Silk crepe, Merino wool, draped, seamless hand felting with crochet motif, Spring 2012 collection. Student SDA Member. Photo: Sheri Earnhart. www.threadyorknot.blogspot.com.

Artists represented on the “Exposure� pages are members of the Surface Design Association (SDA); www.surfacedesign.org. This issue features Northwest SDA members. Their successful regional SDA conference was held in Seattle, Washington March 3-4, 2012; www.surfacedesignwa.wordpress.com.

Summer2012

ABOVE: TRISHA HASSLER Portland, Oregon Surrender To The Possibility Of The Complete Unravelling Hand-dyed textiles, reclaimed torch-cut steel, wood, glass, nuts and bolts, hand and machine quilting, hand embroidery, assembly, 26" x 24" x 1.5", 2011.

Photo: Tom Hassler. www.trishahassler.com.

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i nr eview

Copyright Surface Design Journal®. Not to be reprinted. All rights reserved.

New York, New York Reviewed by Lois Martin

Stephanie Hirsch: Find Your Freedom Laura Ortiz Vega: Cosmograffiti Cayce Zavaglia: Multiple Stitches Lyons Wier Gallery and Lyons Wier Gallery Project Space A trio of shows at Lyons Wier Gallery and Lyons Wier Gallery Project Space in New York spotlighted three artists: Stephanie Hirsch, Find Your Freedom (November 10–December 10, 2011); Laura Ortiz Vega, Cosmograffiti, and Cayce Zavaglia, Multiple Stitches (both November 17–December 17, 2011). Although their work differs completely, all three incorporate thread for its practical, conceptual, and emotive qualities.

Stephanie Hirsch’s pieces in Find Your Freedom are largest, about the size of movie posters. Her imagery seems to have bloomed off 70s and 80s LP record covers, especially the

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rock-and-roll and punk rock albums that were so coveted and talismanic at the time. Prized by many as keys to self-identity, collectors poured over their contents with devotional fervor.

Hirsch channels both the exhilaration and the angst of those covers into her paintings, paying homage especially to iconic albums of The Sex Pistols, Pink Floyd, and The Rolling Stones.

Her work is at once both very plain and very fancy: plain, in that each composition features a single image or line of text; and fancy, because her surfaces—upon close inspection—are faceted with myriad beads and sequins. Against painted backgrounds, Hirsch stitches rows of sparkly rhinestones or couches down dense fields of seed or bugle beads. Her costume jewelry beads are not precious, but they achieve a celebratory richness because of their excess and the psychological weight of Hirsch’s repetitive attachments.

Hirsch borrows her methods from fashion, especially the embellishments of trash-glam and star “bling.” However, their ardency, shiny materials, and simple motifs also recall the sacred sequined flags of Haitian Vodou.

Similarly, Hirsch’s works are reverential banners, but devoted to a particularly twentieth-century kind of anthem. (continued on page 62)

Surface Design Journal

All images are shown courtesy of Lyons Wier Gallery, New York.

ABOVE: STEPHANIE HIRSCH Every Saint Has A Past and Every Sinner Has A Future Rhinestones, embroidery and beads on canvas, 29" x 36", 2011.

BELOW: LAURA ORTIZ VEGA ChacaloFlow Thread and bees wax on board, 8" x 39.5", 2011.

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i nr eview New York, New York (continued from page 60) In Cosmograffiti, Laura Ortiz Vega also creates dense, gleaming surfaces. But her sheen is created not by glinting beads, but by embroidery thread. Her technique derives from northern Mexican traditions of the Huichol people. For centuries they have produced votive bowls by coating the inside of a dried gourd with a thin slip of beeswax then pounding beads or threads into its surface, covering it completely. When finished, the only memory of the wax retained in the final work is a faint honey fragrance.

Vega paints long rectangular canvases with a coat of beeswax, and then packs in parallel strands of pearl cotton. She favors the shiny, brightly colored floss and tropical palette of Mexican folkloric costume. But her motifs are drawn from contemporary urban graffiti, reworked from photographs she takes around her native Mexico City. To suit her panoramic scenes, she uses a scroll format. The horizontal layout fits her street-mural subjects; she compresses their daring, expansive exuberance into concentrated miniatures and converts their gritty brashness into jewel-toned studies. Her translation of the grand scale and oversized gestures of street action painting into meticulous, miniature, thread-based compositions brings up themes of appropriation and gender, as in Ghada Amer’s embroidered subversions of abstract expressionist painting.

However, one has to be careful here: needlework is not invariably women’s work.

Cayce Zavaglia’s work in Multiple Stitches is also intimately scaled. From a distance, her portraits seem photorealistic; up close, her sitters’ faces are overworked with rough, repetitive hand sewing. The impacted stitches lend her subjects a slightly anxious air that contrasts the stable, painted background surrounding them. Like a visible brushstroke, an obvious stitch marks the presence of the artist and records the intensity of her struggle to capture the person or the instant. The very crudeness of the stitching lends it feeling: it is not polished or superficial; it is determined, and its irregular mesh reads like a small, sewn echo of Van Gogh’s bluntly expressive brushwork. This quality of Zavaglia’s work also links it to broader, ragged traditions of utilitarian sewing and darning, especially stitches taken with a wish to protect: the tacked on label to identify a camper’s blanket, or the hand-sewn badges (often emblems of saints) that sometimes decorate soldier’s uniforms and serve as a charm to guard their wearer. Their overworking reveals the fervency of the wishes sewn into the stitches.

Though none of these three artists would consider herself an “embroiderer,” each borrows adroitly from the textile arts and is clearly adept at exploiting the evocative qualities of a thread, a bead, and a stitch. www.lyonswiergallery.com.

—Lois Martin is an artist and writer living in Brooklyn, New York. She teaches fashion design at the Art Institute of New York City.

CAYCE ZAVAGLIA Martina Thread on fabric, hand embroidery 16.75" x 41", 2010.

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Surface Design Journal

Copyright Surface Design Journal®. Not to be reprinted. All rights reserved.

A letter from Jane Dunnewold our new SDA President I have been a member of SDA for 16 years. Until recently, it never occurred to me that someday I might become president of the Association.

And yet, here we are.

So, I’ve been pondering qualities of leadership. Bea Coleman, Patricia Malarcher, Joy Stocksdale, Jason Pollen, Candy Edgerley...They represent the past leadership that nurtured SDA into a premier organization by cultivating standards of excellence. For this, I am grateful.

High standards are threads woven inextricably into the fabric of SDA. But now we ask “What next?”

Your Surface Design Association is in transition, propelled by technological advances, changing demographics, and the need for a global perspective. It is the reality of a new playing field. No matter who you are or how long you have been here, you can make a difference.

Old, young, ageless? Male, female, academic, self-taught, maker, devotee?

Say, Yes. An association is by definition a group of people who love the same thing.

SDA is a community built on a shared love of textiles and textile processes. We must ensure the vitality of this association through transition by naming our unique abilities and skills, and by sharing them.

Here’s what I’ve got to offer: Ears. Tell me what you think. What could be better? What do you love? What do you need? How can I help? Have a bright idea? Both change and celebration spring from shared ideas and active listening.

Hands. Your board and staff work tirelessly for you. So will I. Volunteer and add your hands to ours. Many hands make light work.

Heart. One of my personal goals is alignment. When I am aligned, what I love to do and what I’m good at are in sync. Call it centering. Call it heart. I hope you will align your heart with mine in support of your colleagues and SDA. There’s no doubt about it: we’ve got challenging terrain to navigate over the next three years. We want new programs for members, online galleries and exhibitions, expanded support for activities at the local level, increased transparency at the national level, and the active engagement of members everywhere—including our valued international members and students in college programs around the country.

Marketing and fundraising need to be done. My to-do list is three pages long and growing. The potential is incredible. More volunteer hands are definitely needed to take on these challenges!

I am confident that as transitions unfold, our community will not only prevail, but thrive. It’s exciting to be part of your leadership team.

Thank you for the opportunity.

Sincerely,

Jane Dunnewold, SDA President president@surfacedesign.org www.artclothstudios.com

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asti

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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. The monthly eNews spotlights time-sensitive information, including exhibition opportunities and initiatives.

The online SDA NewsBlog features news of SDA member activities, reports on events relevant to surface design, and information on professional resources. The blog is located on the SDA website (www.surfacedesign.org).

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