tag:blogger.com,1999:blog-31897755070351085752024-03-13T02:22:18.886-04:00Artifex AlmanachMilena Radeva, Fiber Art, Textiles, Costume, Sewing, Draping, Corsetry, Millinery, Embroidery, Quilting, Weaving, Knitting, Crochet, Macramé, Tassels,Tambour, Beading, Trapunto, Fabric Dyeing, Shibori, Batic, Painting, Dolls, Crafts, Fashion, Mola,Theater de la Mode, Illustration, Fine Art, Photography, Paper Dresses Milenahttp://www.blogger.com/profile/10504087805276241834noreply@blogger.comBlogger53125tag:blogger.com,1999:blog-3189775507035108575.post-27521475100771835682015-10-21T13:18:00.000-04:002015-10-21T13:23:28.452-04:00The Magic Behind the Seams: Christian Dior Haute Couture Spring/Summer 2011<div style="text-align: center;">
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<span style="font-size: x-large;"><iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/u_RC9Cxjqig/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/u_RC9Cxjqig?feature=player_embedded" width="320"></iframe></span></div>
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Ever wondered what goes into making one of those over-the-top haute
couture runway looks? This video, filmed at the Dior Haute Couture
Atelier, offers a peek. </span></div>
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The video,
follows the making of a dress from spring/summer 2011. It's pretty wild watching a
whole team of people devote what must be hundreds of hours of painstaking labor
to a single item of clothing. </span></div>
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<span style="font-family: "Courier New",Courier,monospace;"> “Couture” is a magic word. It conjures thoughts of impeccable
craftsmanship, visionary design, and legendary fashion moments. But,
most of us don't encounter haute couture very often, unless we're
looking at a celebrity on the red carpet, a model on a catwalk, or a
mannequin in a museum case.<br /> It’s an incredible revelation, and when you discover what goes into
these garments, the crazy prices on couture start to seem at least a
little less crazy. </span></div>
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<span style="font-family: "Courier New",Courier,monospace;"> Think of this as a mini-trip to
Paris or a crash course into fashion’s highest form; either way, enjoy
your couture, concentrated.</span><br />
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Milenahttp://www.blogger.com/profile/10504087805276241834noreply@blogger.com0tag:blogger.com,1999:blog-3189775507035108575.post-1288701245253081102015-10-01T14:31:00.001-04:002015-10-01T14:31:28.512-04:00Jean Paul Gaultier: From the Sidewalk to the Catwalk
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Couple
of months ago, on my way to Canada, I had a three days stopover in Paris. It
was my first visit to the City of Light, and I was intent of seeing as much as
possible for such a short visit. I had a whole list of possible sites to see,
but the highlight of my visit I found on a small tourist website on my first
night there. “The Fashion World of Jean Paul Gaultier: From the Sidewalk to the
Catwalk”, the amazing retrospective exhibit I’ve missed few years earlier in
Montreal, was having its final show here at the Grand Palais in Paris. The
experience was quite exhilarating for me. After all Jean Paul Gaultier, along
with John Galliano and Alexander McQueen are my all time favourite designers.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>I
don’t even recount how many hours I spent there going back and forth, trying to
absorb every single detail and taking numerous pictures. Unfortunately, the
light in the halls of the exhibit was very low and the pictures are not the
best of quality, but even though, I decided that I want to share my experience
with you. The wonderful narrative accompanying my pictures is reprinted mainly
from an article by Susan Orlean, a staff writer of The New Yorker and from the
exhibition’s booklet. Unfortunately, the show is over, but I hope I can convey
to you at least some of the atmosphere and the magic that was almost palpable
in the halls of the Grand Palais.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>Jean
Paul Gaultier is born in Arcueil, a suburb of Paris, on 24 April.</span><span style="font-size: 12.0pt;"> </span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">His father was an accountant and
his mother a clerk; he was an only child and were, as Gaultier describes it, of
modest means. His grandparents lived nearby, and he spent as much time as he
could with his maternal grandmother, Marie Garrabe, a widow who ran a home
business that sort of prefigured wellness counselling: </span><span style="font-size: 12.0pt;">a hypnotist and beauty therapist</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">,
she provided massages, facials, laying on of hands, and marriage advice to a
clientele of local women. She doted on Gaultier; she let him watch television
whenever he visited, so he soaked up hours of movies and shows, including a
broadcast of performances at the Folies Bergère, which a less permissive adult
might have considered too adult for a little boy.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>Marie
also often allowed Gaultier to sit in on her consultations with clients. To
women who confided that their husbands were losing interest in them, she
recommended that they jazz up their wardrobes. The idea that fashion was
powerful enough to perhaps save a relationship fascinated Gaultier. Sometimes,
as he listened to the counselling sessions, he drew before-and-after sketches
of the women. The “before” image was how they looked when they came to his
grandmother, and the “after” was how he thought they would look if they took
her advice, which usually meant that they were transformed into, say, Ava
Gardner or Marilyn Monroe. </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>From
the time he was a boy, Gaultier also experimented with appearances, and Marie
was a more or less willing accomplice. According to Gaultier’s cousin Évelyne,
one of those experiments resulted in Marie’s hair being dyed blue. In the
catalogue of the Montreal exhibition, there is a hilarious photograph of a
teen-age Jean Paul working on Marie’s hair. He looks pleased; she looks as if
she were being held for ransom. Gaultier talks about his grandmother
frequently. He appreciates the fact that she spoiled him, and he found her
eccentricity inspiring. </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>For
instance, Marie would go outside dressed just in her slip; she was that kooky.
While he loved his mother, he says she was “less interesting” than his
grandmother. But he also told me a story about how he had once quit a job,
claiming that his grandmother had died. His mother knew about his fib, and,
when he asked her to pick up his final paycheck, she decided to go dressed in
mourning clothes. The gesture thrilled him. “I couldn’t believe she would do
that!” he said. “That she would dress up like that, for me.”</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>The
Gaultiers weren’t political, but they insisted on an openness and acceptance
that was unusual for the time. Once, when Gaultier said something insulting
about Arabs living in the neighborhood, his mother reprimanded him. “She said,
‘They are nice people, and you should shut up,’ ” he recalled. His mother
already suspected that he was gay, and added that Jean Paul ought to think hard
about being prejudiced, since he, too, could be the target of insults.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>The
insults did indeed come, at school, where Gaultier was the misfit kid who
wasn’t good at any sports and felt rejected by the boys in his grade. Then he
got caught doodling in class. After smacking him with a ruler, the teacher
pinned the drawing to the back of his shirt and made him walk through all the
classrooms as a shaming punishment. This discipline strategy had one fatal
flaw: the drawing was of women in bras and fish-net stockings, inspired by the
Folies Bergère shows that Gaultier had watched at his grandmother’s. Instead of
being the object of ridicule, he became the object of great admiration among
the boys. “It was like a passport,” he says. “I realized if I sketched, people
would smile.”</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>The
fact that Gaultier does haute couture at all is remarkable. His house is one of
the eleven formally recognized by the Chambre Syndicale de la Haute Couture. He
began the business in 1996, at a time when more couture houses were closing
than were opening. By then, he had been working in fashion for more than
twenty-five years. He never received formal training as a designer. Instead, he
started sending sketches to famous couture stylists at an early age. He had
left high school early, in 1970, to work as a studio assistant for Pierre
Cardin, the designer who pioneered space-age dresses, bubble skirts, and the
modern tunic jacket beloved by the late Ferdinand Marcos. Gaultier idolized
Cardin, who was uninterested in convention and unafraid of the couture
syndicate, which is regulated by French law. </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>After
the stint at Cardin, Gaultier worked for Jacques Esterel, and then for Jean
Patou, a fusty old French house, where he was mocked for the unconventional way
he had begun dressing. As he once said, “When I arrived in the morning wearing
my riding boots, the old salesladies would say to me, ‘Where’s your horse? Did
you leave it outside?<a href="https://www.blogger.com/null" name="/7"></a>”</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>The
good thing about working for Patou, though, was that the experience mirrored
Gaultier’s idea of what it would be like to work in fashion. Like many of his
notions, this one sprang from a movie: the 1945 Jacques Becker film,
“Falbalas,” about a philandering couturier who ends up falling in love with a
friend’s wife, has a nervous breakdown, and jumps out a window with a
mannequin. Gaultier loved the drama and the romance of the movie, and he also
loved the world it described—the mansions where the couturiers worked, the
ateliers staffed by legions of stern seamstresses, the precision and the detail
of the work. He has said that if he hadn’t seen “Falbalas” he might not have
become a designer. The House of Patou, headquartered in a spectacular
eighteenth-century building, made him feel that he was living in his favorite
film.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>In
1974, Gaultier went back to work for Cardin, designing and producing
ready-to-wear clothes for the American market. In the meantime, his boyfriend,
Francis Menuge, encouraged him to establish his own line of ready-to-wear.
Scraping together his own money, and relying on friends and family (his cousin
Évelyne knit the sweaters, the concierge of his apartment building helped with
the sewing, and Menuge made the accessories and handled the business
arrangements), Gaultier presented his first collection in 1976, at a Paris planetarium.
There were nine models, who wore dresses made from placemats, canvas, and
upholstery fabric, and biker jackets with tutus. The clothes were sexy and
witty, making use of iconic fashion motifs (toile, biker jackets, ballet
costumes) in unpredictable ways and humble materials in reverential ways, and
grafting unlikely components together. </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>That
spirit has guided his work ever since, conveying his appreciation of anything
hybrid and surprising, and, as he explained, “the question of what is beautiful
and what is not beautiful.” One of the phrases Gaultier uses often is “Why
not?,” which he delivers with his eyebrows lifted and his shoulders raised, as
if he were a human interrobang. He says it most often to explain a lot of the
decisions he makes with clothes. Why would someone wear a tutu with a biker
jacket? Well, why not?</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>One
section of the exhibition named </span><span style="font-size: 12.0pt;">The
Odyssey, refers to what might be dubbed the “founding myths” of the Gaultier
universe – it is the origin of certain recurring figures in his collections:
that of the sailor character, who is both virile and strongly connoted
sexually, and that of the siren, who embodies ultimate grace, hybridity,
feminine seduction and trompe l’œil. Religious iconography and its
“misappropriation” are also found in several of his collections.The designer is
fascinated by the poetic world of Jean Genet and Jean Cocteau. His taste for
the marinière, the striped jersey, became his emblem, and harks back to his
childhood: “I have always loved the graphic, architectural appearance of
stripes. My mother used to dress me in marine sweaters, as they go with
everything. This is a basic, a garment that will probably never go out of
style. There have been several influences: Coco Chanel, Picasso who wore it,
but also Popeye and Tom of Finland. But it is the Rainer Fassbinder film
Querelle(1982) that turned it into my favourite garment.” The iconic stripe
embodying the brand would be rolled out in a thousand ways. </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;"> <span style="mso-tab-count: 1;"> </span>Many
of the other young designers of his generation, such as Christian Lacroix and
John Galliano, riffed on opulence and luxury; their clothes evoked a fantasy
world of wealth and exclusivity. Gaultier was more interested in what he saw on
the street: London kids with sky-high Mohawks and safety-pinned kilts,
fetishists with full-body tattoos, African women in Paris who wore men’s
overcoats on top of traditional dress. His fantasy world was one where
ethnicity and gender were comfortably jumbled—a kimono could be spliced onto a
double-breasted suit, or a ball gown could be made of camouflage fabric or,
even better, of camouflage fabric that on closer inspection revealed itself to
be colored bunches of nylon tulle, a cheap material usually used only for tutus
and wedding dresses.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span></span><span style="font-size: 12.0pt;">In London, which he discovered as a teenager, the
designer was struck by the mixture of tradition and avant-garde permeating the
English capital. He found inspiration in less conventional sources: dandies in
bowler hats meet tattooed punks in Trafalgar Square; their outfits in which they
mixed latex, leather, tartan, safety pins, lace and fishnet nourish the eye and
the imagination of Gaultier.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>The
meeting point between these two worlds, between Paris and London, was the “punk
cancan” that reappears throughout his career in the form of clothing embodying
both class and non-conformism, classicism and spirit of rebellion. Feathers,
boas and frilly cancan accessories rub shoulders with leather, jeans and plaid
fabrics. Chic lies in the suit, dress or trousers... for men and women. Gaultier,
fashion designer with a punk soul, was already inventing new aesthetic codes,
without imposing anything but instead encouraging everyone to dress in a style
of their own.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;"> </span></span><span style="font-family: Arial,Helvetica,sans-serif;"></span><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>His
choice of models was also part of his effort to conjure a world without boundaries.
In the mid-seventies, fashion, was ruled by towering blondes, including Jerry
Hall, Cheryl Tiegs, and Margaux Hemingway. Gaultier chose unconventional models
of all races; some were bald or tattooed (or bald and tattooed), some
overweight, some elderly, others extreme in some way. His beauty ideal was the
fierce, androgynous French model Farida Khelfa; her appearance in his shows was
the first time that a model of North African descent had had such prominence.
There were only nine journalists at Gaultier’s first show, but the collection
drew enough attention so that, within two years, his clothes were being sold at
the influential Paris boutique Bus Stop, and were being championed by the
Japanese apparel company Kashiyama.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>Among
the first pieces he designed were his tattoo “skins”: long-sleeved
tight-fitting stretch-nylon tops that were printed with the bursting roses,
pierced hearts, and tribal swirls of body art. But not everything that Gaultier
designed was pure invention. He was also interested in tradition: not
conformity for the sake of conformity but those traditions of clothing, such as
the trenchcoat and the sailor shirt, which were timeless and, above all, very
French. It’s just that he looked at them in a different way. What if you took a
trenchcoat and made it into a dress? Or made it in red satin? Or made the
sleeves into huge, draping bat wings or layered them with feathers? Well, why
not?</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>Gaultier
says that he met Madonna in 1987, after her concert at the Parc de Sceaux,
outside Paris. He had been a fan from the moment he first saw her, singing
“Holiday” on television. “I thought, Oh, my God! That look is incredible!”
Gaultier recalled. “The fish-nets! The jewelry! The stomach! The little boots!
Truly, it was the same spirit of what I was doing, a little rebellious. Then I
saw her on the MTV music awards singing ‘Like a Virgin,’ wearing a wedding
dress, with the masturbation. . . . American show business was very shocked,
but she was fantastic!"</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>As it happened, Madonna was a fan of
Gaultier’s. She wore one of his dresses, in black, to the 1985 American Music
Awards and, a few months later, she wore the same dress, only in white, to the
première of the film “Desperately Seeking Susan.” </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><a href="https://www.blogger.com/null" name="/9"></a><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">A few years
earlier, he had begun making his first corset dresses—boned, bra-topped corsets
that continued past the hips to qualify as legal street wear. He had first seen
a corset at his grandmother’s. It was salmon pink, and he was struck by the
luscious fabric and the delicate stitching: “I felt so much admiration for it.
My grandmother explained to me that she wore it to have a slim waist, and that
she had to drink vinegar to give herself a stomach contraction so it could be
laced tightly. Like so!” He drew in his breath sharply, to demonstrate how his
grandmother would collapse her stomach. “It’s like theatre!” He really liked
Madonna, and he told her that he would like to make a corset dress for her.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>These
days, an exposed bra strap or a lingerie-style top is commonplace, but it
wasn’t in the early nineteen-eighties. Foundation garments were demonized as
anti-feminist and subjugating, and were not flaunted—if they were worn at all.
But his grandmother’s corset and her intricately seamed bra struck Gaultier as
celebratory, rather than confining, as did any article of clothing that
conveyed the idea of the body and of flesh. Then one of Gaultier’s employees
came to work wearing a Chanel jacket, unbuttoned, over nothing but a lacy bra,
which reminded him of his grandmother walking around in her slip. He decided to
design some clothes that were an elaboration on her lingerie. In some of the
pieces, he exaggerated the cups of the bra, so that they looked like inverted
ice-cream cones or an African fertility carving. He called the collection Dada,
and it was an immediate sensation.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>The
corset-dresses were analyzed for their politics—was dressing a woman in a
corset enslaving or empowering?—and for their shock value. Gaultier says that
he was surprised at the commotion. “I didn’t know there would be a reaction,”
he said. “I did it quite naturally!” Pedro Almodóvar confirmed that Gaultier’s
motivation was ingenuous. “He has an outrageous side, but he’s far too innocent
and authentic to shock for shock’s sake. He’s very sexual but never dirty. He
can be provocative, but he’s not a poseur, trying to be scandalous.”</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-_YY6uq6Pswo/VgyEr0Hd13I/AAAAAAAAGzI/YX2Bbb3BlZQ/s1600/JPG%2B29.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="398" src="http://1.bp.blogspot.com/-_YY6uq6Pswo/VgyEr0Hd13I/AAAAAAAAGzI/YX2Bbb3BlZQ/s640/JPG%2B29.jpg" width="640" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>By
the mid-eighties, Gaultier had collaborated with a number of artists. He had
designed costumes for the French actress Annie Girardot, and for performances
choreographed by Régine Chopinot. But he had never collaborated with a star as
big as Madonna, who asked him to design costumes—three hundred and fifty-eight
of them—for Blond Ambition. The tour was a sold-out success around the world,
and Gaultier’s costumes were acclaimed. In particular, the pink corset
bodysuit, with exaggerated conical bra cups, which the blond, ponytailed
Madonna wore over black menswear trousers, became one of the indelible images
of the era.</span></span></div>
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</span><div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0in; mso-para-margin-right: 0in; mso-para-margin-top: .01gd;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>When
Gaultier was working on Blond Ambition, Francis Menuge was stricken by a
devastating AIDS-related illness. Menuge had handled the business side of
Gaultier’s work since his first show, and they had been a couple for fifteen
years. When he died, in 1990, Gaultier found it hard to continue with the
business they had created together. He thought about quitting fashion, but
decided to stay with it, and even to look into designing a couture line, as
Menuge had urged him to do for years. It was a huge commitment, one far more
demanding than designing ready-to-wear clothing.</span></span></div>
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</span><div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>To
be officially sanctioned by the couture syndicate, a designer must create
made-to-order clothing for private clients, employ at least fifteen full-time craftspeople,
and, twice a year, present a collection of at least thirty-five outfits, some
for day and some for evening. Couture houses almost always operate at a loss;
they exist to showcase the designers’ most unencumbered fantasies. Very few
people buy couture, since one dress can easily cost fifty thousand dollars.
Most customers can only afford something from a designer’s ready-to-wear
line—or a perfume—whose brand has been made more valuable because he or she
designs couture.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>By
the mid-nineties, the number of couture customers was shrinking, and there was
a nagging feeling that the business was decadent, and dying. At first glance,
Gaultier, would seem to be the last person interested in having a couture
house, but he was the person who had grown up dreaming of “Falbalas,” and who,
despite his rascally reputation, was deeply respectful of the French grand
tradition. </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>In
1996, Gaultier says, he met with Bernard Arnault, the chairman of the fashion
conglomerate LVMH, which owns Dior, Fendi, Givenchy, and Céline, among other
brands. Gaultier thought that perhaps he would go to Dior, which was looking
for a new head couturier. But Arnault wanted John Galliano, who had been a
success at Givenchy, where he had spent the previous year, to take over Dior, and,
according to Gaultier, Arnault wanted him to take Galliano’s place at Givenchy.
Gaultier was dismayed. “I thought Givenchy was very bourgeois,” he said. “I
loved Saint Laurent, Dior, Cardin. Givenchy was not a dream of mine. So I told
Mr. Arnault no, I was not dreaming of Givenchy.”</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>Instead,
he opened a couture house under his own name. He showed his first couture
collection in 1997; Nicole Kidman bought one of the first pieces. “My God,
Nicole Kidman!” he said. “I had a client!” He had thought he would do just the
one collection, but he quickly discovered that he loved the freedom of
designing couture, where, if he could imagine a full-body corset encrusted with
Chantilly lace, or a unitard that was beaded with anatomical details, so that
the wearer looked nude but sparkling, he could have it made. And he loved being
in the atelier every day, tweaking and fussing over the pieces, working with
the seamstresses and the hatmakers and the beaders and the corset-makers. (He
also showed men’s couture—the first designer to do so.) </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>So
he did another collection and then another. In the early years, he showed as
many as a hundred and twenty outfits. “I have a defect,” he confessed, saying
that he allows himself to explore too many ideas, and that he admired designers
like Rei Kawakubo, whose collections explore a single, rigorous theme. “But I
love it,” he said, excitedly. “What I love is the process! I love it!”</span></span></div>
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</span><div class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0in; mso-para-margin-right: 0in; mso-para-margin-top: .01gd;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>Even
Gaultier’s riskiest moves have often paid off. For instance, he has famously
advocated that men wear skirts, showing them for the first time in 1984, in a
collection he called “Boy Toy.” Of course, the sight of a brooding male model,
wearing a five-o’clock shadow and a skirt, set off all manner of comment.
Gaultier says that he had no intention of making a statement or of being
provocative; he was inspired by tradition, including the long aprons that
waiters wear in brasseries, by togas and kilts, and by one of his male models,
who had shown up for a fitting wearing a sarong, looking very masculine.
Gaultier sold three thousand of the skirts, and continues to include them in
his collections. “It was not a gay statement—quite the contrary,” he said. “Men
were changing—they were not so macho. So I thought, Why not?”</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>In
the summer of 2009, Nathalie Bondil, the director and chief curator of the
Montreal Museum of Fine Arts, approached Gaultier with a proposal to mount an
exhibition of his work. Before settling on Gaultier, Bondil had considered
doing an Alexander McQueen exhibition. “He also had a very strong visual
world,” Bondil said. “But Jean Paul Gaultier is like smiling sunshine. McQueen
is the dark moon.” </span></span></div>
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says that he was reluctant but Bondil convinced him that the exhibition could
really reflect his way of looking at the world. “I wanted something very, very
alive,” he said. “I didn’t want something dead—a museum can seem dead, the
clothes are very old, it’s like a funeral.” He thought that if the exhibition
could show his obsessions—“flesh, ethnicity, different kinds of global beauty,
cinema, my interest with Madonna, tattoos, the Parisienne, the male as object,
all that kind of thing”—he would consent. </span></span></div>
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Loriot, who is in charge of fashion and design projects at the museum and was
the chief curator for the exhibition, interviewed almost everyone who has been
instrumental to Gaultier’s career, and began looking through some eight
thousand pieces that he had designed over the years. Loriot selected a hundred
and forty for the show, along with accessories, photographs, archival
materials, and seventy videos.</span></span></div>
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favorite thing—besides sugar and couture—is film, and the exhibition ended up
echoing his beloved “Falbalas.” He said, “At the end of ‘Falbalas,’ there is a
beautiful scene—it’s the presentation of the couturier’s collection.” Then he
described how the couturier, who is starting to go mad, stares at a mannequin,
which suddenly becomes an apparition of the woman he loves. The way the
mannequin came to life gave Gaultier the idea of making mannequins for the show
that would also somehow come alive. “Why not?” he said, shrugging. </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>He
had seen a theatre performance in Avignon that used video projections and blank
mannequin faces to create a similar illusion, so he approached Denis Marleau
and Stéphanie Jasmin, the directors of the experimental theatre company Ubu,
and together they created thirty-two animated mannequins that talk, wink,
smile, and sigh. The effect is startlingly realistic, but slightly unnerving.
The first mannequin you see in the show is one of Gaultier, chatting and
laughing and exclaiming, as he often does.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>The
show itself is mind-boggling; there is a gown made to look like the skin of a
leopard, fashioned entirely from beads; thigh-high tights made of Chinese-print
satin; mermaid dresses that drape into swirls of liquidy fabric; long skirts
with mariner stripes, made entirely of tiny feathers. While I walked around the
exhibition, most of what I heard people saying was: “It’s amazing.” The
visitors that day were the kind of mixed bag that would have made Gaultier
happy—a lot of fashionable young women, some gay couples, a few families with
children, and a number of elderly people, who tilted their bifocals so that
they could examine the fabrics more closely. Gaultier is thrilled with the way
the exhibition has turned out. “It’s like a dream come true, in reality, for
me,” he said. “It’s alive, it’s a story, it’s a movie. It is like a dream!”</span></span></div>
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days, Gaultier lives alone, in Paris. He has a boyfriend who lives in Greece,
and they see each other when they can. He doesn’t think that he will ever be as
close to anyone as he was to Menuge. “He and I did something together,” he
said. “We did my company. It was like our baby.” Most days, Gaultier works,
then goes to the movies, then reads a book, then works some more. Facing his
sixtieth birthday, with a major exhibition of his work travelling the world,
has made him a little philosophical. He looks back at his old collections more than
he used to.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>For his couture collection, he now
designs about forty-five outfits—more than the thirty-five that are required,
but not the flood of clothes that he created in his first seasons. He has a
staff of seamstresses and public-relations people and helpers, but he designs
everything himself: the couture, the ready-to-wear, the jewelry, the menswear,
the nautical collection, the accessories, and the packaging for the fragrances,
as well as Piper-Heidsieck limited-edition champagne bottles, a knit
collection, lingerie, and children’s clothes. The last really great assistant
he had was Martin Margiela, who left, more than twenty years ago, with
Gaultier’s blessing, to do his own collection. “In the future, to be honest,
I’d love to delegate some of my work,” Gaultier said. “But I can’t teach
someone. I have to find someone who matches my sensibility.”</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span></span><span style="font-size: 12.0pt;">Gaultier fiercely loves difference. Seeking it out in
worlds still impermeable to the standardisation of fashion, he respects
individuality and loves all that is unusual. This observation has resulted in a
new aesthetic, where the garment embodies the dialogue between cultures,
backgrounds and ethnicities, beyond geographic boundaries, religious beliefs
and language barriers.Gaultier blurs the boundaries, creating hybrids halfway
between urban world and wild territories, between tradition and modernity,
between animality and refinement. Observer of his time, the creator denounces
the injustices of society and taboos in his shows, while highlighting the
beauty of difference in his silhouettes. </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Like
in a world à la Prévert, we find bullfighters’ bolero jackets, the shtreimel
and long sombre coats of rabbis, gilets from Mongolia, geisha kimonos, flamenco
skirts and African masks. They combine with elements and materials typical of
the Gaultier wardrobe like corsets, leather, vinyl and glitter, brilliantly
illustrating how the mingling of peoples allows enriching encounters. The
unconventional couturier says of his work that he is midway between Malraux’s
Musée imaginaire and Dadaism: he</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12.0pt;">brings together everything he loves, mixes, matches,
collects and transgresses, and then synthesises this approach into a single
garment.</span></span></div>
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Sidewalk to the Catwalk is a phenomenon that has wowed over a million visitors
on its international tour. In its tenth stop in Paris, after Montréal, Dallas,
San Francisco, Madrid, Rotterdam, Stockholm, Brooklyn, London and Australia,
the show is a high point in Jean Paul Gaultier’s career.</span></span></div>
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</span>Milenahttp://www.blogger.com/profile/10504087805276241834noreply@blogger.com1tag:blogger.com,1999:blog-3189775507035108575.post-37343097674156663092014-07-14T13:45:00.005-04:002014-07-14T14:05:06.985-04:00Isabelle de Borchgrave<style>
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<span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA;"><span style="mso-tab-count: 1;"> </span>Belgian artist Isabelle de Borchgrave is a painter by training, but textile and costume are her muses. Working in collaboration with leading costume historians and young fashion designers, de Borchgrave crafts a world of splendour from the simplest rag paper. Painting and manipulating the paper, she forms trompe l’oeil masterpieces of elaborate dresses inspired by rich depictions in early European painting or by iconic costumes in museum collections around the world.<span style="mso-spacerun: yes;"> </span>The Legion of Honor is the first American museum to dedicate an entire exhibition to the work of Isabelle de Borchgrave, although her creations have been widely displayed in Europe.</span></div>
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<span style="color: black; font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> <span style="color: yellow;"> </span></span></span><span style="color: white;"> <span style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">The story begins in a little house in Sablon, which Isabelle turned into a studio. There, she gave drawing classes to her friends’ children and other neighbourhood children and, thus, was free to think about her own designs. It was the seventies and, so, La Tour de Bébelle was set up there. Processions of hand-painted clothes, rolls of fabrics strewn about, pigments, brushes, gouaches, canvasses, pastels and travel journals. Everything alongside each other in a friendly, colourful and modern setting. </span> </span><style>
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<span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA;"><span style="mso-tab-count: 1;"> </span>Countess Isabelle de Borchgrave d'Altena was born in Brussels, Belgium in 1946. Since early childhood, she had a passion for drawing. Pencils were her first toys, and she made drawings on everything in sight, including the walls and floor of her room. She began her studies at age 14 at the Centre des Arts Décoratifs, and, later – at Académie Royale des Beaux-Arts in Brussels, where her days were filled with drawing still-lives and form models. De Borchgrave worked in advertising for less than a year after she had finished studying, and then made clothes for her friends before branching out into interior design. She later established her own studio, designing dresses, scarves, jewelry and accessories. In particular, de Borchgrave specialized in designing fabrics.</span></div>
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<span style="color: black; font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> <span style="color: white;"> </span></span><span style="color: white;">Following a visit to the Metropolitan Museum in New York in 1994, Isabelle dreamed up paper costumes. While keeping her brushes in hand and her paintings in mind, she worked on four big collections, all in paper and trompe l’oeil, each of which set the scene for a very different world. “Papiers à la Mode” (Paper in Fashion), the first, </span></span><span style="color: white;"><span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA;">was a collaborative effort with the renowned Canadian costume designer Rita Brown</span><span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt;"> </span><span style="font-family: Courier; font-size: 12.0pt;">that takes a fresh look at 300 years of fashion history from Elizabeth I to Coco Chanel. “Mariano Fortuny” immerses us in the world of 19th century Venice. Plissés, veils and elegance are the watchwords of that history. “I Medici” leads us through the streets of Florence, were we come across famous figures in their ceremonial dress. Figures who made the Renaissance a luminous period. Gold-braiding, pearls, silk, velvet … here, trompe l’oeil achieves a level of rediscovered sumptuousness. As for the “Ballets Russes”, they pay tribute to Serge de Diaghilev. Pablo Picasso, Léon Bakst, Henri Matisse, … all designed costumes for this ballet company, which set the world of the 20th century alight. These dancing paper and wire figures play a very colourful and contemporaneous kind of music for us.</span></span></div>
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<span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA;"><span style="mso-tab-count: 1;"> </span>Over the years, de Borchgrave's paper creations have ranged from an elaborate headdress in the shape of a caravel in full sail, worn by Marie Antoinette, to some oversized roses for John Galliano's haute couture show for Christian Dior, to a subtle, white on white wedding dress train worn by HRH Princess Annemarie of Bourbon-Parma at her wedding with Prince Carlos of Bourbon-Parma. She was also commissioned to recreate Jackie Kennedy's wedding gown for the John F. Kennedy Library and Museum in Boston. "It was dusty and fragile, wrapped up in black tissue paper", de Borchgrave recalls in a story in Daily Telegraph. "The silk was dead, you couldn't touch it any more. It was preserved like a relic. The original is dead, but the paper one brings it to life again." In 2004, de Borchgrave designed and made a delicate, painted paper dress for Queen Fabiola of Belgium, which the queen wore to the wedding of Prince Felipe of Spain in Madrid.</span></div>
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<span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA;"><span style="mso-tab-count: 1;"> </span>In 2008, a colorful installation of over 80 pieces by Isabelle de Borchgrave opened at the Fortuny Museum in Venice, Italy. Entitled "Un mondo di carta - Isabelle de Borchgrave incontra Mariano Fortuny", ("A World of Paper: Isabelle de Borchgrave Meets Mariano Fortuny") the exhibition was spread over the historic palazzo's three floors and included versions of Fortuny's classic, finely pleated "Delphos" dress, as well as robes, accessories, shoes, boots, a stage set, an oriental tent, rugs, cushions, a lute and antique swords, often intermingling with the master's own works and collection, and all made of painted paper. Reviewing the installation for The World of Interiors magazine, author Barbara Stoeltie wrote, "Isabelle de Borchgrave freely shares her adventures in beauty – a beauty that, beneath her gaze and from her fingertips, pours out unstintingly. Tubes of paint, boxes of pastels, sheaves of brushes of all sizes and all kinds of glue gleefully take part in her marvellous game. The work itself rejoices."</span></div>
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<span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA;"><span style="mso-tab-count: 1;"> </span>In 2008, a lavishly illustrated hardcover monograph "Paper Illusions: The Art of Isabelle de Borchgrave" was published in the United States by Abrams. Within weeks, the book was declared by The New York Times to be one of "the best gift books of 2008" and "among the most unusual and fascinating... seen in a long time." The monograph was authored by the well-known writer and photographer duo, Barbara and René Stoeltie, with an introduction of Hubert de Givenchy, who said of de Borchgrave, "Isabelle is one of a kind; with a single sheet of paper, she creates the most beautiful dresses, the finest costumes, or, simply, a chain of white roses...Whether it becomes a shoe, a hat or a few strings of pearls, Isabelle plays with paper as a virtuoso plays an instrument."</span></div>
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<span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA;"><span style="mso-tab-count: 1;"> </span>In February 2011, a large scale installation entitled "Pulp Fashion: The Art of Isabelle de Borchgrave" opened to great acclaim at the Legion of Honor Museum in San Francisco. The retrospective exhibition, described by the museum officials as "trompe l'oeil masterpieces," is presented in six sections: "The Artist's Studio" is recreated to provide insight into de Borchgrave's creative process; "In White" showcases the purity of craftsmanship in a selection of nine dresses devoid of color; "Papiers à la Mode" features iconic looks from key periods in fashion history, and legendary designers such as Charles Worth, Paul Poiret and Coco Chanel are represented by signature pieces; "Fortuny" is an immersive environment created under a paper tent populated by recreations of Fortuny's famed pleated and draped gowns; "The Medici" is the artist's most extravagant series, with elaborate velvets, needlework lace, ropes of pearls, and intricate coiffures transformed into paper sculptures, and "Inspiration"— de Borchgrave's latest body of work, inspired by four paintings from the Legion of Honor's collection that she admired during her visit to the museum in the summer of 2010. </span></div>
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<span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA;"><span style="mso-tab-count: 1;"> </span><span style="color: white;">In de Borchgrave's art, the starting point is almost always the same: sheets of paper one meter by one and a half meters (3.3 feet by 4.9 feet), which she sets to work on with her brushes and paints on an enormous linen-covered table in her studio in Brussels. "Her colors, reports The New York Times, "are very much inspired by her travels: reds from the roses of Turkey, earth hues from Egypt, blues from Greece...Borchgrave produces astonishing effects of scintillating color, weight, transparency and texture. Her renderings of diaphanous gauzes are especially astonishing." </span></span><span style="color: white;"><span style="font-family: Courier; font-size: 12.0pt;">Every year, she and her team go through 2.5 miles of paper in their artistic pursuits.</span><span style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA;"> </span><span style="font-family: Courier; font-size: 12.0pt;">Imagine the complexity involved in creating an 18th-century rococo ball gown, with its reams of ribbons and layers of lace and petticoats, or an intricately pleated Fortuny evening ensemble. Then think about making them out of paper.</span><span style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA;"> </span><span style="font-family: Courier; font-size: 12.0pt;">Through cutting, gluing and painting, using a mix of acrylic paint, ink and metallic powder, de Borchgrave makes us believe we’re seeing lace, brocade, silk, taffeta and embroidery.</span></span></div>
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<span style="color: black; font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span><span style="color: white;">It’s true that, today, Isabelle de Borchgrave has become a name that is readily associated with fashion and paper. But her name is also closely linked to the world of design. By working together with Caspari, the potteries of Gien, Target, and Villeroy and Boch, Isabelle has turned her imagination into an art that’s accessible to anyone who wants to bring festivity into their home. Painted fabrics and paper, dinner services, curtains, sheets, decor with a personal touch for parties and weddings. <span style="mso-spacerun: yes;"> </span>All this tells of the world in which she has always loved to move.</span></span></div>
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<span style="color: black; font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> <span style="color: white;"> </span></span><span style="color: white;">But in a 40-year career, she has never put to one side the thing that has always guided her in her life: painting. She still exhibits her paintings and her large folded paper works all over the world. With an imagination increasingly stimulated by her knowledge and interpretation of art, Isabelle, a follower of the Nabis movement, has a fresh perspective of a world that flies around her like a dream.</span></span></div>
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<tr><td class="tr-caption" style="text-align: center;">Isabelle de Borchgrave and her team</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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Milenahttp://www.blogger.com/profile/10504087805276241834noreply@blogger.com0tag:blogger.com,1999:blog-3189775507035108575.post-32643354294520282652014-05-24T19:46:00.001-04:002014-05-24T19:46:44.481-04:00Elana Herzog<div class="separator" style="clear: both; text-align: center;">
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<strong><span style="font-size: 12pt; font-weight: normal;">Dewarped and Unweft</span></strong></span>
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<span style="font-family: "Courier New",Courier,monospace;"><span style="font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>For
the past 10 years, Elana Herzog has been creating impressive interventions out
of ripped and otherwise deconstructed domestic fabrics that seem to grow
seamlessly out of a room's corners, cling to a supporting column or hang (via
thousands of industrial staples) from a wall. What most people don't know is
that Herzog accomplishes the lion's share of her labour-intensive activity in
the studio. There, equipped with Sheetrock panels, a pneumatic staple gun and a
large supply of cotton tablecloths and chenille bedspreads, Herzog has time to
work and plan for the installation. On-site, the Sheetrock is hung, and many
more hours are spent augmenting and adjusting details. The final effect is
almost magical, as though a vast, somewhat wild garden had grown in the gallery
quite spontaneously.</span></span></div>
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<span style="font-family: "Courier New",Courier,monospace;"><strong><span style="font-size: 12pt; font-weight: normal;">Dewarped and Unweft</span></strong></span></td><td class="tr-caption" style="text-align: center;"><span style="font-family: "Courier New",Courier,monospace;"><strong><span style="font-size: 12pt; font-weight: normal;"> </span></strong></span></td><td class="tr-caption" style="text-align: center;"><span style="font-family: "Courier New",Courier,monospace;"><strong><span style="font-size: 12pt; font-weight: normal;"> </span></strong></span>
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the discourse into three dimensions, Herzog uses a combination of layered wood,
textiles and stapled surfaces to create freestanding and wall mounted
sculptures, which reveal the versatility of her visual language. These pieces
play with relationships between sculptural and pictorial space. They invoke
landscapes, aerial views, and strata. As ever, Herzog is extremely interested
in the evocative power of every day things, repetition and variation, and
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<span style="font-family: "Courier New",Courier,monospace;"><span style="font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Elana
Herzog is one of several artists working today whose installations draw from
the pared down traditions of minimalism and the bravura experimentation of arte
povera. Her works involve the artist’s improvisational, performative action in
their construction. Herzog’s practice is to attach distressed discarded
textiles such as old bedspreads, tablecloths or carpets directly to a wall
using hundreds of metal staples. She then tears away at the fabric and selectively
reapplies these cloth shreds with more staples, arriving at progressively
dematerialized works she terms “sculptural drawings.” The heavily built-up
areas of cloth and dense patterns of metal staples play against the skin of the
bare, perforated gallery wall, suggesting the precarious physical presence of
her constructions. They are simultaneously being made and unmade, new forms
emerging from the remains of the old.</span></span></div>
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<span style="font-family: "Courier New",Courier,monospace;"><strong><span style="font-size: 12pt; font-weight: normal;">W(e)ave /details/</span></strong></span></div>
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<span style="font-family: "Courier New",Courier,monospace;"><span style="font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Though
Herzog’s initial inspiration derives from the monolithic rectangles of Sixties
abstract painting, she proceeds to challenge modernism’s conventions of the
integrity of the object by injecting references to the violent disregard and
destruction of the planar surface. She describes her debt to modernism as both
reverent and irreverent.</span></span></div>
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<span style="font-family: "Courier New",Courier,monospace;"><span style="font-size: 12pt;">Civilization and its Discontents /detail/</span></span>
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<span style="font-family: "Courier New",Courier,monospace;"><span style="font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>The
Aftermath of Warp and Weft. There’s something mysterious about Elana Herzog’s
fabric works, embedded as they are, seamlessly within the gallery walls. Are
they the remnants of some violent event that occurred in the room overnight,
before we arrived? Let’s consider, for a moment, other forms of art that appear
to us as magically, virtuosically, in-situ — Renaissance frescoes, for
instance, painted quickly and expertly into wet plaster, or urban murals that
appear out of nowhere, covered with portraits or Wild Style graffiti. We, as
viewers, know we’re expected to marvel in their construction, their poetic
authorship, at how they seem to transcend the plain, resolute, impassivity of
the architecture. But Herzog’s fabrics have struck some sort of quiet, Faustian
bargain with their support. The walls of the gallery are no longer simple,
reassuring structures; and the otherwise pleasant, domestic fabrics impaled
upon them are no longer a source of comfort. In their construction and
underlying structure, the pieces we see here are honest — almost to a fault.</span></span></div>
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<span style="font-family: "Courier New",Courier,monospace;"><span style="font-size: 12pt;">Civilization and its Discontents</span></span>
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<span style="font-family: "Courier New",Courier,monospace;"><span style="font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Utilizing
a pneumatic stapler to affix textiles to walls, Elana Herzog creates one
surface from two. Proceeding in an expressive method akin to drawing, she
places and pulls out staples, removes and shreds bits of fabric, and reapplies
both until a dematerialized image emerges. “When I feel my spine tingle, I go
with that”, she says. In her works, fabrics adorn and dissolve into walls, with
the woven pattern of the fabric a mere memory in her final composition.
Sometimes dense staples stand in for fabric on the grid of a weave; in other
areas, the staples break out on their own, acting as silver lines on white
space. The evidence of aggressive textile tearing and distressed wall marking
offers poetic moments, as when a long fabric tendrils curls into the air or
surprisingly voluminous fold pushes out from the wall beside a conspicuously
flat empty space.</span></span></div>
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<span style="font-family: "Courier New",Courier,monospace;"><span style="font-size: 12pt;"><span style="mso-spacerun: yes;"> </span></span><span style="font-size: 12pt;">In Practice Projects</span></span>
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<span style="font-family: "Courier New",Courier,monospace;"><span style="font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>After
receiving her MFA from SUNY Alfred in 1979, Herzog created mixed-media
sculpture for almost ten years before turning to utilitarian textiles as her
materials of focus. Her first work with textiles consists of a wooden kitchen
table altered by cutting, and a long peace of knotted, sheer fabric hanging
bellow the table and snaking along the floor. Given the table’s anthropomorphic
character and the evocative quality of the twisted fabric, the title ‘Rapunzel’
(1990) is fitting. Since that work, Herzog has been using sheets, bedspreads,
rugs, draperies and curtains to make her sculptural works and architectural
interventions.</span></span></div>
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<span style="font-family: "Courier New",Courier,monospace;"><span style="font-size: 12pt;">Plaid /detail/<span style="mso-spacerun: yes;"> </span>Projected</span></span>
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<span style="font-family: "Courier New",Courier,monospace;"><span style="font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>While
some of her works suggest paintings by maintaining the rectangular form of
found blankets, curtains and carpets, other suggests sculpture in the way she
uses yardage to involve and interact with space. To extend the piece among multiple
surfaces, she subtly alters gallery spaces building objects such as horizontal
platforms, ceiling-high piers, or low partition forms. Uniting the forms with
the fabric, Herzog is then able to create dynamic vertical and horizontal
elements around the perimeter of the room and into the gallery space. With tiny
square fabric networks reminiscent of city models placed up high, down low, and
unpredictable shapes, her installations recall both a modern grid and a
contained, in-progress construction site. Viewers experience exquisite, ever
shifting panoramas as they walk through what is essentially a three-dimensional
plaid environment.</span></span></div>
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<span style="font-family: "Courier New",Courier,monospace;"><span style="font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Elana
Herzog lives and works in New York City. She has a BA from Bennington College
and an MFA from Alfred University. Herzog was the 2012 Fellow of the
Saint-Gaudens Memorial in Cornish, New Hampshire along with a solo exhibit.
Other venues include a survey at the Daum Museum, MO, the Aldrich Museum, CT,
the Tang Museum, NY, Museum of Art and Design, NY, Weatherspoon Museum, NC,
Brooklyn Museum, NY, the Zilkha Gallery at Wesleyan University, CT, Reykjavik
Art Museum, Iceland, Konsthalle Goteborg, Sweden and at Konstahalle
Gustavsbergs, and Tegnerforbundet in Norway, among other venues. She is a
lecturer at Yale Univeristy. Herzog is preparing for a two-person exhibition,
with Linda Herrit, at The Pierogi Boiler for the Fall of 2014, and for a
residency at the Josef and Annie Albers Foundation.</span></span></div>
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<span style="font-family: "Courier New",Courier,monospace;"><span style="font-size: 12.0pt;">Civilization and its
Discontents</span></span></div>
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<span style="font-family: "Courier New",Courier,monospace;"><span style="font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Her
numerous honours include an Anonymous Was A Woman Award, a Louis Comfort Tiffany
Foundation Award, two Individual Artists Fellowships from the New York
Foundation for the Arts, and a Joan Mitchell Foundation Grant. </span></span></div>
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<span style="font-family: "Courier New",Courier,monospace;"><span style="font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>You
can view more of her work on her website:</span></span></div>
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<span style="font-family: "Courier New",Courier,monospace;"><span style="font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>http://www.elanaherzog.com/</span></span></div>
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<span style="font-family: "Courier New",Courier,monospace;"><span style="font-size: 12.0pt;">Into the Fray<span style="mso-spacerun: yes;">
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<span style="font-family: "Courier New",Courier,monospace;"><strong><span style="font-size: 12pt; font-weight: normal;">W(e)ave<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"></span></span></strong><span class="description"><span style="font-size: 12pt;">Rose Series #2 </span></span></span>
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<span style="font-family: "Courier New",Courier,monospace;"><strong><span style="font-size: 12pt; font-weight: normal;">Untitled<span style="mso-spacerun: yes;">
</span></span></strong><span style="font-size: 12pt;">Plaid</span></span></td><td class="tr-caption" style="text-align: center;"><span style="font-family: "Courier New",Courier,monospace;"><span style="font-size: 12pt;"> </span></span>
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<a href="http://2.bp.blogspot.com/-H6_lEO3gFmQ/U4EntdeXvRI/AAAAAAAAFjg/6GUDP3qVAOE/s1600/EH+14.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-H6_lEO3gFmQ/U4EntdeXvRI/AAAAAAAAFjg/6GUDP3qVAOE/s1600/EH+14.jpg" height="322" width="640" /></a></div>
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<span style="font-family: "Courier New",Courier,monospace;"><span style="font-size: 12.0pt;">Civilization and its
Discontents <span style="mso-spacerun: yes;"></span><strong><span style="font-weight: normal;">Dewarped and Unweft /detail/ </span></strong></span></span></div>
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<span style="font-family: "Courier New",Courier,monospace;"><span style="font-size: 12pt;">Dewarped and Unweft</span></span>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="font-family: "Courier New",Courier,monospace;">Elana Herzog</span></span></td></tr>
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Milenahttp://www.blogger.com/profile/10504087805276241834noreply@blogger.com0tag:blogger.com,1999:blog-3189775507035108575.post-90589130426150616822013-12-18T20:11:00.000-05:002013-12-18T20:11:04.354-05:00Kirsty Mitchell<br />
<br />
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<span style="font-family: Courier; font-size: 12.0pt;">Gaia, The
Birth Of An End</span></div>
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<span style="font-family: Courier; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>Kirsty Mitchell was
born and raised in the English county of Kent, known to many as the ‘Garden of
England’. Growing up, art became Kirsty’s sole passion. The imagination and
belief in beauty became her root, and the place she constantly try to returns to
in her work. She studied until 25, taking courses in the history of art,
photography, fine art, and then on to train in ‘Costume for Performance’ at the
London College of Fashion. Having graduated and worked for a short time in the
industry, Kristy decided to further her education, returning to university and
completing a first class degree with honours in Fashion design, at Ravensbourne
College of Art in the summer of 2001. During this time Kirsty completed two
internships at the design studios of Alexander McQueen and Hussein Chalayan.</span></div>
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<span style="font-family: Courier; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>Since then, Kirsty has
worked full time as a senior designer for a global fashion brands, until 2007
when personal illness brought a sudden change, and led her to pick up a camera.
Photography became a passion, and gave her new purpose.</span></div>
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<span style="mso-tab-count: 1;"> </span><span style="font-family: Courier; font-size: 12.0pt;">Mitchell's fondest childhood
memories are of her mother Maureen, a schoolteacher, reading fairy tales aloud.
These tales of imagination, beauty and love followed Mitchell throughout whole
her life. Her mother passed away of a brain tumour in 2008, leading Mitchell on
a creative journey through ethereal lands and personal memories. The
photographer has created a new world in her mother's memory, rich with
intricate detail and drama. Her work reminds us that the real world is not the
only world, if you allow your imagination to take hold.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">The Queen's Centurion</span>
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<span style="font-family: Courier; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>She
retreated behind the lens of her camera and created <i>Wonderland</i>, an
ethereal fantasy world. The photographic series began as a small summer project
but grew into an inspirational creative journey.</span><span style="font-family: Courier; font-size: 12.0pt;"></span></div>
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<span style="font-family: Courier; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>'Real
life became a difficult place to deal with, and I found myself retreating
further into an alternative existence through the portal of my camera,' said
the artist. </span><span style="color: black; font-family: Courier;"><br />
</span><span style="font-family: Courier; font-size: 12.0pt;">'This escapism grew
into the concept of creating an unexplained storybook without words, dedicated
to my mother, that would echo the fragments of the fairytales she read to me
constantly as a child.'</span></div>
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<span style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">A Forgotten Tale</span>
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<span style="font-family: Courier; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>To
realize her visions, Kirsty, collaborated with hair and make-up artist Elbie
Van Eeden. In the beginning, both were in full time jobs so they spent
evenings and weekends creating props, wigs, and sets on a shoestring budget and
shot in the woodlands surrounding Kirsty's home in Surrey.</span><span style="font-family: Courier; font-size: 14.0pt; mso-bidi-font-family: "Times New Roman";">
</span><span style="font-family: Courier; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">She developed a deep bond and respect for the locations in
which she was working and strove, through her pictures, to 'remind others of
their forgotten magic and beauty'. </span></div>
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<span style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">A Most Beautiful Dead</span>
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<span style="font-family: Courier; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span></span><span style="font-family: Courier; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">She
became fascinated with pockets of wild flowers such as the bluebells that would
appear for only a few brief weeks of the year. In some cases, she would wait a
full 12 months so she could shoot costumes matched to the vivid colours of
nature.</span><span style="font-family: Courier; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;"></span></div>
<div style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt;">
<span style="color: black; font-family: Courier;"><span style="mso-tab-count: 1;"> </span></span><span style="font-family: Courier; font-size: 12.0pt;">'All the characters came to me in
my dreams,' she explained, but she delighted in the chance to step into the
scenes for real: 'after all, it's not often you get to stand beside an eight
foot princess in the rain, or witness the dawn with a dancing circus girl on
stilts!'</span></div>
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<span style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">The White Queen<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"></span>The Fall of Gammelyn</span>
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<span style="font-family: Courier; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>The
resulting images looked so hyper-real that it was assumed that they were
created in Photoshop. Many people believed the photographs were shot all around
the world, when in reality they were taken in locations within short drives of
her Surrey home. </span><span style="font-family: Courier; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;"></span></div>
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<span style="mso-tab-count: 1;"> </span><span style="font-family: Courier; font-size: 12.0pt;">Kirsty began to write diary
accounts and blog behind-the-scenes shots about the creation of each
photograph. 'My aim was to portray time passing, an unsaid journey through four
seasons, incorporating every colour in the rainbow’.<span style="font-family: Courier; font-size: 12.0pt;"> As things
progressed, her costumes became more elaborate with the props and new
characters often taking up to five months to create. 'The project blossomed
into our own private playground,' she said.</span> </span></div>
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<span style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">The Arrival Of Gaia</span>
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<span style="font-family: Courier; font-size: 12.0pt;"><br />
<span style="mso-tab-count: 1;"> </span>In the words of
Mitchell, Wonderland is a “storybook without words”. The series, made up of 69
images with 10 more in the making, has been completely self-funded and every
single character is product of Mitchell’s imagination. A incredible imagination
that gathers faded memories of stories read to her by her mother, book
illustrations, poems, paintings and dreams and mixes everything to construct a
detailed and singular fairy tale world. “The costumes, props, sets and
accessories, are all a vital part of the process that is finally recorded in
the finished product of the photograph. This physical creation is my favourite
part, and has taken me to places I would have otherwise never known. I have
walked on snow covered in flowers, stood in lakes at sunset, painted trees, set
fire to chairs, made smoking umbrellas, and giant wigs from stolen flowers.”</span></div>
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<span style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">The Garden of Whispered Wishes</span>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Mitchell’s unique
approach to portrait photography shows the deep influence of her 10 year career
as a costume and fashion designer. Everything framed by her camera is real,
including the intricate costumes that are specifically designed and constructed
for each character she creates. All the elements are shown in real scale, all
the props exist and are handmade by her, and the locations are natural settings
found in the woodlands around her home. Her extraordinary technique creates
otherworldly scenes without the need of Photoshop, cloning or digital add-ons.</span><br />
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<span style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">The Briar Rose<span style="mso-spacerun: yes;"> </span>The Beautiful
Blindness of Devotion</span>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>The artist describes
her photography as ‘fantasy for real’. She spends months meticulously
handcrafting her characters costumes and props to coincide with the complex
narrative she imagined. But the actual shoot may take months or years to
complete since it must coincide with the exact season or weather conditions
that the character and scene calls for. The photo shoots are elaborate, similar
to a miniature movie set, with lighting and assistants.</span><br />
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<span style="font-family: Courier; font-size: 12.0pt;">Moondial</span></div>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>In order to share her
incredible production over the 5 years it took to produce them, each of the
images is accompanied by a 5 minute film, which shows the intense and meticulous
work that it requires. For those who cannot believe that these images are real
and created without digital intervention, Mitchell’s diary offers a detailed
and up-close account of the entire project.</span></div>
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<span style="font-family: Courier; font-size: 12.0pt;"><a href="http://www.kirstymitchellphotography.com/diary/">http://www.kirstymitchellphotography.com/diary/</a></span></div>
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<span style="font-family: Courier; font-size: 12.0pt;">More
of her works can be seen on her website:</span></div>
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<span style="font-family: Courier; font-size: 12.0pt;"><a href="http://www.kirstymitchellphotography.com/">http://www.kirstymitchellphotography.com/</a>
</span><span style="font-family: Courier;"></span></div>
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<span style="font-family: Courier; font-size: 12.0pt;">Danaus</span></div>
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<span style="font-family: Courier; font-size: 12.0pt;">The
Voyage<span style="mso-spacerun: yes;"> </span>Vortex </span></div>
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<span style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">In the process<span style="mso-spacerun: yes;">
</span>Gaia's Promise</span>
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<span style="font-family: Courier; font-size: 12.0pt;">The White
Witch<span style="mso-spacerun: yes;"> </span>The Fairy
Cake Godmother</span></div>
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<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"> The Making of the ‘<span class="watch-titleyt-uix-expander-head">The Ghost Swift’</span></span><br />
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<br /></div>
Milenahttp://www.blogger.com/profile/10504087805276241834noreply@blogger.com0tag:blogger.com,1999:blog-3189775507035108575.post-90299820142009700292013-10-27T20:24:00.002-04:002013-10-27T20:28:00.659-04:00Cas Holmes<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Cas Holmes is an
artist, teacher and author living in the UK. She trained in painting and
photography at the University of Creative Arts, Kent followed by further
scholarships studying paper and textiles in Japan and India. Working with
textiles and mixed media, she creates textile collages using discarded and ‘found
materials’. These are torn, cut, and re-assembled creating translucent layers,
which connect drawing, painting and image, with clothe and stitch.</span></div>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>The Artist has a
down-to-earth approach to life and her art takes her on flights of fancy, which
evoke folk cultures, traditions and mythology with an abandon, which ignores
all barriers. Sometimes figurative, sometimes wholly abstract she has an
unerring faith in her feeling for her materials. Confidence pours from her work
and with it a power and sophistication that brings to it an almost religious
sensation of ancient wisdom revisited.</span></div>
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<span style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Red Bowl<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Spring Snow</span>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Cas is passionate about
the environment and her use of recycled and found materials. Her imagery
highlights the vulnerability of the wildlife that most of us overlook in our
daily lives – the nature that shares our city spaces. Some of her work had been
prompted by the start of the London Olympics. She remember the walks she’d
taken in the Lea Valley before building work had started at the site, where she
had stopped to take note of the beauty of the commonplace wildlife such as the
dandelions, grasses, birds and moths that she came across. The work is
wonderfully delicate and ethereal. Layering fine fabrics, with a subtle use of
colour, she creates the atmospheric backgrounds for her hand and machine
stitched images, highlighting the fleeting nature of such encounters.</span></div>
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<span style="font-family: Courier; font-size: 12.0pt;"> Tulip<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Amber Walls </span></div>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>She is interested in
recording the changes that might impact on the flora and landscape of South
East of England and her adopted County, Kent. Holmes is looking at political
and social as well as climatic change. Flooding, as witnessed in the American
South and the Tsunami in Japan, and its impressive physical changes to the
landscape raises issues about our fragile relationship with the local and
global environment.</span></div>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Looking at translucent
layers, connecting paint, mark and print with the found surfaces of fabrics and
papers she seeks the 'hidden edges' of our landscape, the verges of our
roadsides, railway cuttings and field edges, the places where our gardens meet
the outside spaces. Worked with what Cas describes as 'stitch sketching' these
atmospheric pieces seeking to capture a moment or thing before it is gone.</span></div>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>The often-overlooked
things of daily life and observations of the land inform her work. Connecting
paint, mark and image she reflects the ‘hidden edges’ of our landscape, verges,
field edges and wild spaces, ‘stitch sketching’ to capture a moment before it
is gone. Her work is inevitably influenced by her visits to Japan but more as
someone who would use that influence to reaffirm her own strengths. That is her
originality.</span></div>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Holmes' textured,
translucent, and intricate textile art is a testament to the history of this
medium, as well as the social and political undertones that it implies. Devoted
to incorporating historical and found objects in her artwork, Cas creates
layers of both fabric and meaning, inspired by her travels, her hometown of
Maidstone in Kent, England, and her interest in the societal role of textiles
both past and present. Her stirring work has been well recognized in her
community; as the Pride of Britain award she received from the NRI® Institute
for her research in India and the resultant body of work exploring her Romany gypsy
ancestry.</span></div>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Her materials are
overwhelmingly organic and appear to have been given new life. Paper ages and
crinkles with a will of its own and is made exquisitely into a Japanese style
panels allowing light to pass through, or are incorporated into one of her
unique quilted hangings. Behind it all there is a sense of grand design under
the control of the artist. It is both decorative and rich in symbolism.</span></div>
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<span style="font-family: Courier; font-size: 12.0pt;">Grassland
Book</span></div>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>The Artist is deeply
moved by the stories of ordinary people's lives, the births, marriages and deaths;
the diseases brought on by harsh working conditions and the way these hard
facts are hidden from history, forgotten with the passing of time. Her work,
often contain snippets of text or discarded materials and objects that have
associations or that conjure up memories. There is always a dialogue with the
materials she uses. They bring their own history, which is woven into the work.</span></div>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Cas Holmes makes art.
If it happens to reference the techniques of the quilter, it is coincidence -
same brush, different painting. Her work has a primitive quality that wanders
the earthly through the ethereal. Translucent layers of painted fabrics,
collaged papers or stitched bits combine and then recombine across different
series of her work. Cas sketches regularly. She brings this quality to her
thread painting; which is more thread sketching with frenetic stitch lines that
capture movement and personality. The simplicity of her thread sketching brings
a charm to her work and a sense of urgency, as if we need to look now to see a
moment or thing before it is gone. This simplicity can also bring reassurance
to any of us - to say that we need not worry about the perfection of every line
of stitching. In this medium, we can cast off the yoke of perfectly spaced,
even stitching and embrace the moment of "doing". Continuing to
develop her techniques, drawing and use of colour remain the foundation for all
her work. The fragments of found materials are layered and mark the passing of
time, the rituals of making (drawing, cutting, gathering materials, machining,
sewing) acting as part of the narrative of the work.</span></div>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Her work relates to the
natural and built world and the elements that make it up. She lives in a house
which edges on a park bringing the Urban and 'Nature' together. Cas like to
make drawings, take photographs and gather found materials from within my
footsteps as part of the regular journeys she makes from her front door. The
process of looking and recording helps to establish the environmental links
between the built and 'natural' spaces as well as addressing issues of
sustainable practice. She is interested in the open landscape, the shadows of
marks made by man in the earth, the reflections in water and flooded fields,
gardens and seasons changing. Holmes refers to this process in her book “The
Found Object in Textile Art”, as 'Magpie of the Mind'.</span></div>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Cas Holmes regularly
exhibits in the UK and abroad and enjoy working on collaborations and
installations with other artists. This includes the installation “Curiouser and
Curiouser” at Tunbridge Wells Museum and Art Gallery and workshops in Europe
and Australia. Her book “The Found Object in Textile Art”, (published by
Batsford 2010), looks at some of the processes. </span></div>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>After obtaining a Fine
Arts degree in the early eighties, her understanding of paper and related media
was further enhanced through two periods of long-term study in Japan in the mid
to late eighties (supported by the Japan Foundation and the Winston Churchill
Memorial Trust).</span></div>
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<span style="font-family: Courier; font-size: 12.0pt;"> Traces: Installation, Rochester Cathedral</span></div>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>In 1991, she was given
a joint award with South East Arts and the British Council to research art
based organisations and community groups in Canada. She focused on those, which
used re-cycled and found materials in their projects. Exchanges, talks and
workshops remain an important part of her practice and more recently she have
studied and worked in Europe, India and Australia.</span></div>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Cas Holmes creates
works for public and private settings and has pieces in collections around the
world, including the Museum of Art and Design in New York, Arts Council England
and the Sir Leonard Cheshire Foundation.</span></div>
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her you can visit her website:</span></div>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>http://www.casholmes.textilearts.net</span></div>
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Milenahttp://www.blogger.com/profile/10504087805276241834noreply@blogger.com1tag:blogger.com,1999:blog-3189775507035108575.post-69156842275409441812013-09-02T21:05:00.004-04:002013-09-02T21:12:24.416-04:00Barbara Heller<style>
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Bamboo</td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"> </span>
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</span></span><br />
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<span style="font-size: small;"><span style="font-family: "Courier New",Courier,monospace;"> “Medieval
tapestries were often political or religious parables clothed in classical
allusions. I use this ancient art form with modern symbols and metaphors to
circumvent the rational mind and reach people on an intuitive, emotional level.
The familiarity and non-threatening nature of textiles allows me to seduce the
viewer into taking a closer look at preconceived assumptions.</span></span></div>
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</span></span><br />
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<span style="font-size: small;"><span style="font-family: "Courier New",Courier,monospace;">I draw on my heritage, my own
photographs and old family photos, the mystical side of world religions, and my
personal experiences to develop an iconography to express my passionate
concern. I am concerned with humanity and its relationship to the environment,
both natural and man-made, and to itself. We have lost our sense of who we are
and how we fit into our world.”</span></span></div>
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</span></span><br />
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<span style="font-size: small;"><span style="font-family: "Courier New",Courier,monospace;"> Barbara
Heller</span></span></div>
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</span></span><br />
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<span style="font-family: "Courier New",Courier,monospace; font-size: small;">Left Window
Passing Shadow
Right Window</span>
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<span style="font-size: small;"><span style="font-family: "Courier New",Courier,monospace;"> Tapestries
and fiber based wall art in general is often stuck with the perception that
it's an archaic craft, dating from medieval times and only existing as either
museum pieces or reproductions thereof in the present day. Contemporary artists
like Vancouver based Barbara Heller, however, take the time honored craft and
transform it into a vital expression of modern concerns.</span></span></div>
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<span style="font-size: small;"><span style="font-family: "Courier New",Courier,monospace;"> Tapestry
wasn't Heller's first choice in arts though. She started out as a printmaker,
until an allergy to the chemicals forced her to switch careers.Her introduction
to tapestry came in the form of an evening course in someone's basement. Later,
inspired by a traveling show of Polish tapestry, she set up her first loom and
taught herself by trial and error. She has been a full-time tapestry artist
since 1980.</span></span></div>
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<span style="font-family: "Courier New",Courier,monospace; font-size: small;">Ozymandias</span>
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<span style="font-size: small;"><span style="font-family: "Courier New",Courier,monospace;"> To
act as a mediator requires an ability to accept as valid more than one point of
view and to show alternative paths to resolution that all parties can agree to.
In tapestry, politics partakes of an historical tradition that willingly shows
the mutilations of war, the betrayals of kings, and the apocalyptic nature of
fate in a way that is much like theater. Both Heller and Lurçat [French artist
who revived the tapestry tradition after WW2] take the stage as mediators
moving between real-world events and old-world history. To succeed in mediating
a consensus requires an understanding of both the world around them and the
strength of their medium. And neither of them could know in advance with any
certainty whether the communities they spoke to would agree to discussion and
be able to see the possibilities their mediations provide.</span></span></div>
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<span style="font-size: x-small;"><span style="font-size: small;">War Zones: Somalia The Apple of God’s Eye</span> </span>
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<span style="font-size: small;"><span style="font-family: "Courier New",Courier,monospace;"> The
Artist is concerned with humanity and its relationship to the environment and
to itself. She is concerned with war and homelessness and poverty, which she
believes results from the loss of our sense of who we are and how we fit into
our world. These concerns are not always evident in her work, but they are
always there as subtext. Viewing Heller’s work promotes meditation, and
enhances our perceptions. The artist invites us to rethink ourselves not only
in art but also in social and environmental justice. We are all integrated circuits.
Her work is a process of restoration and an echo of the natural and man made
world’s unremitting cycle of decay and renewal.</span></span></div>
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<span style="font-family: "Courier New",Courier,monospace; font-size: small;"><b><span style="font-weight: normal;">Sunspots</span></b></span>
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<span style="font-size: small;"><span style="font-family: "Courier New",Courier,monospace;"> Barbara
Heller’s stunning tapestries carefully draw the line (in both senses of the
term) between myth and history, past and present, art and craft, the individual
and the community, the artist and her world, again and again underscoring the
intrinsic interdependence of each binary pair. What sense, their work
suggestively asks, can one have without the other? Where do the specific and the
universal, the local and the global intersect?… What do we hide from or seek in
both others and ourselves in the masquerade of everyday existence? What meaning
does an individual have outside the community?…</span></span></div>
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<span style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><span style="font-size: small; mso-spacerun: yes;"> </span><span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;"><span style="font-size: small;">Still
Life…With Bird Stones
#19: Zion</span> </span></span></span>
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<span style="font-size: small;"><span style="font-family: "Courier New",Courier,monospace;"> Equally
committed to fulfilling her fair share of responsibility to mend our world, Barbara Heller, too, chooses to
imbue an ancient art with new aesthetic, political and spiritual dimensions —a
radical move that further positions both artists as leaders among a growing
international movement whose aim it is to restore tapestry, mosaics, and other
art practices similarly demoted to the status of craft or decorative art to the
recognition they thoroughly enjoyed before the Enlightenment…</span></span></div>
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<span style="font-size: small;"><span style="font-family: "Courier New",Courier,monospace;"> Heller’s
approach is rather inductive. Initially enticing the viewer by the tactile
beauty of the yarns and the image itself, allowing time for the message behind
the image to be absorbed, she slowly builds upon the constitutive elements of a
nascent image and concept, allowing for the paradigmatic emergence of the
larger whole to become manifest gradually throughout the piece and cumulatively
throughout all her work.</span></span></div>
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<span style="font-size: small;">Shiva Dances Red Poppy </span></span></span>
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<span style="font-size: small;"><span style="font-family: "Courier New",Courier,monospace;"> In
some of her series, Barbara Heller uses historical images. There she distills
ideas from newscasts selecting images that comment on humankind’s historical
struggle to live in dignity. Using tapestry with mixed media she expresses
horrific implications resulting from international events. She weaves adults in
scenes where they seem alien to their environment; children lost in poverty
created by war; destroyed buildings become carcasses of hate; fragments of
birds’ wings and bones imply inexplicable loss of life, freedom and joy.
Initially the soft qualities of tapestry mask her terrifying visions. When the
full impact of her intent is seen, the effect is ominous. It is demonic — not
on her part, but what her art represents. Tapestry allows Heller to give
reality to the unspeakable while drawing the viewer to wallow in texture and color before soliciting contemplation and a sense of responsibility to form
the future…</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;"> <span style="font-size: small;">Surgeon - Cover Up Series - Afghani Woman </span> </span></span></div>
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<span style="font-size: small;"><span style="font-family: "Courier New",Courier,monospace;"> The
life experiences and perspectives lead Heller to believe that allegiance to
country, ethnicity and religion can be fool’s false truths. Instead, her art
takes us into an international arena of politically sensitive artists where
historical art, media, images and ideas applied to current events become powerful
tools for social statements.</span></span></div>
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The Herald
Passages</span> </span></span></span>
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<span style="font-size: small;"><span style="font-family: "Courier New",Courier,monospace;"> Barbara
Heller is an artist who feels passionate about tapestry. Her art defines her
life. She has exhibited widely locally, nationally, and internationally for the
past thirty years and her tapestries have been featured in several books and
been the subject of numerous articles. To promote all the fiber arts, and
tapestry in particular, Barbara has organized symposia, written articles, given
lectures, edited publications, taught workshops and curated exhibitions. She
has represented Canada overseas and lectured on Canadian tapestry and her own
work. She sat on the Board of the American Tapestry Alliance for eight years.
She still volunteers with ATA as chair of their distance learning mentorship program
and personally mentors two people. She founded the British Columbia Society of
Tapestry Artists and is co-editor of the Canadian Tapestry Newsletter. </span></span></div>
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<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;"><span style="font-size: small;">Stonewall
#5 War Zones:
Rwanda</span> </span></span></div>
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<span style="font-size: small;"><span style="font-family: "Courier New",Courier,monospace;">Currently she shares the Fiber Art Studio with three floor-loom weavers and a knitter. She is the
animated display in the corner window and she can be seen weaving tapestry
almost every day. The studio is on Granville Island in Vancouver and is open to
the public. </span></span></div>
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<span style="font-size: small;"><span style="font-family: "Courier New",Courier,monospace;">For more of Barbara's work
you can check her Website:</span></span></div>
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<span style="font-size: small;"><span style="font-family: "Courier New",Courier,monospace;">http://barbaraheller.ca</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: "Courier New",Courier,monospace;"><span style="font-size: small;">The Shaman - Seagull Series - The Patriot</span> </span></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="font-family: "Courier New",Courier,monospace;">Barbara Heller</span></span></td></tr>
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Milenahttp://www.blogger.com/profile/10504087805276241834noreply@blogger.com3tag:blogger.com,1999:blog-3189775507035108575.post-66405723739045933212013-06-16T19:03:00.000-04:002013-06-16T19:03:21.823-04:00Costume Diary III
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<span lang="EN-CA" style="font-size: 12.0pt; mso-ansi-language: EN-CA;"><span style="mso-tab-count: 1;"> </span><span style="font-family: "Courier New",Courier,monospace;">Few
months ago I worked on quite an interesting project for the San Francisco
Ballet designed by the Academy Award Winner Coleen Atwood. The costumes were
for the ballet “From Foreign Lands”. I’ve never seen the show, so I can’t tell
you anything about it, but the costume were</span></span><span lang="EN-CA" style="font-size: 12.0pt; mso-ansi-language: EN-CA;"><span style="font-family: "Courier New",Courier,monospace;">
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<span lang="EN-CA" style="font-size: 12pt;">very much like</span>
little jewels. The designer –
faithful to her reputation, used completely new and unique concept to create a
beautiful, flowing effect with the layered, multicolored tulle of the skirts. </span></span></div>
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<span style="font-family: "Courier New",Courier,monospace;"><span lang="EN-CA" style="font-size: 12.0pt; mso-ansi-language: EN-CA;"><span style="mso-tab-count: 1;"> </span>Each
color scheme and some of the decorative details on the costumes, ware
designated to represent a different country and something specific for their
culture.</span></span></div>
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<span style="font-family: "Courier New",Courier,monospace;"><span lang="EN-CA" style="font-size: 12.0pt; mso-ansi-language: EN-CA;"><span style="mso-tab-count: 1;"> </span>It
wasn’t an easy project, but it was unusual and inspiring experience and I did
enjoy working on it.</span></span></div>
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Milenahttp://www.blogger.com/profile/10504087805276241834noreply@blogger.com0tag:blogger.com,1999:blog-3189775507035108575.post-3111148039294565322013-04-14T19:45:00.000-04:002013-04-14T19:45:05.797-04:00Susan Strachan Johnson<div class="separator" style="clear: both; text-align: center;">
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<strong><span style="font-size: 12pt; font-weight: normal;"> Susan Strachan Johnson is a Fibre Artist, Painter and Teacher whose
love for Mother Earth shines through her art. </span></strong><span lang="EN-CA" style="font-size: 12pt;">A member of the Connections Fibre Artists since 2004, Susan has
completed her Diploma in Stitched Textiles Design with the City & Guilds
Institute, U.K. She teaches workshops in fibre art techniques throughout
Southern Ontario, and also offers private instruction in her studio, though her
popular "Play for a Day" getaways. </span></div>
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<span style="font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Almost
as soon as she had finished her Diploma, Susan was struck down with congestive
heart failure. Since she leads a healthy life, this was a shock, and she had to
take much of the summer off. Regrettably, some workshops had to be postponed,
and work slowed right down. But as of the fall of 2011, she’s back at work,
catching up on commissions and planning a new shows about the experience of
healing and caring for her heart. </span></div>
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<span style="font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span><strong><span style="font-weight: normal;">In addition to her fibre art,
Susan also paints portraits in watercolour and other media, from photographs. A
synopsis of comments from clients reveals her ability to capture what is loved
about something or someone. "Somehow she just picks up on it, and then
puts that love into the painting. It's so much better than the
photograph."</span></strong></span></div>
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<span style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Final Exposure</span>
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<strong><span style="font-size: 12pt;"><span style="mso-tab-count: 1;"> </span></span></strong><span style="font-size: 12.0pt;">Susan's conceptual media collages and fibre artworks
depict landscapes, pastoral scenes, and animals. She uses watercolour paints,
appliqué, fabric paints, and quilting to create unusual and beautiful art. Her
work often involves human shadow figures. She works with distressed fibres,
paper-and-textile combinations and found objects. She also paints and dyes her
own materials. Susan is currently working on the theme of "this fragile
planet", using a combination of texture through layering, and organic
methods of construction and distressing.</span></div>
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<span style="font-size: 12.0pt;"> </span></div>
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<span style="font-family: Courier; font-size: 12.0pt;">Barn
Ruins Study #2<span style="mso-spacerun: yes;">
</span>Barn Ruins Study #3 </span></div>
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<span style="font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Her
work is informed by nature and the rural landscape around her home in Everton,
Ontario and is only partly abstracted. Susan wants to show how she sees the
world and each piece invariably has an environmental theme, since she believes
artists cannot say too much about how they need to care for our planet, instead
of merely using it for their own ends. So her work is always representational
in some way. She sees decay, de-construction, repair, re-cycling and
regeneration as part of the cycle of life, so she try to use each of these
methods in her work.</span></div>
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<span style="font-family: Courier; font-size: 12.0pt;">Grandmother
in My Garden</span></div>
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<span lang="EN-CA" style="font-size: 12.0pt; mso-ansi-language: EN-CA; mso-bidi-font-size: 10.0pt;"> Originally trained as a painter, Susan has been
working in fibre art since 2003. Among other juried shows, she has shown by
invitation at the 2003 Biennale in Florence, Threadworks 2004 and 2007, and the
Grand National Quilt Show at Kitchener-Waterloo Art Gallery each year since
2007. Awards include Best in Show in Threadworks 2004, the Fibre Art award at
Insights (2006), and the Rebecca Burghardt Emerging Artist Award at Touched by
Fire (2008). </span></div>
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Out</span>
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<span style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Remembering 1969 </span>
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<span style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Forest Glade 2 <span style="mso-tab-count: 2;"> </span>Clear
Waters </span>
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<span style="font-family: Courier; font-size: 12.0pt;">The Kiwi<span style="mso-tab-count: 2;"> </span>Wishing for
a Road Less Travelled</span></div>
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<strong><span style="font-family: Courier; font-size: 12.0pt; font-weight: normal;">Susan Strachan Johnson</span></strong><span style="font-family: Courier; font-size: 12.0pt;"></span></div>
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Milenahttp://www.blogger.com/profile/10504087805276241834noreply@blogger.com0tag:blogger.com,1999:blog-3189775507035108575.post-28216792285465406092013-01-27T15:23:00.001-05:002013-01-27T15:51:10.026-05:00Creation of a Couture Gown<br />
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<a href="http://1.bp.blogspot.com/-iBuABpXnXrM/UQWLqWceWbI/AAAAAAAAFLg/nwY_VLvR9R0/s1600/Screen+Shot+2013-01-27+at+3.18.12+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="406" src="http://1.bp.blogspot.com/-iBuABpXnXrM/UQWLqWceWbI/AAAAAAAAFLg/nwY_VLvR9R0/s640/Screen+Shot+2013-01-27+at+3.18.12+PM.png" width="640" /></a></div>
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<span style="font-family: Courier; font-size: 12.0pt;"> In
France, the term haute couture is protected by law and is defined by the
Chambre de commerce et d'industrie de Paris based in Paris, France. The chambre
syndicale de la haute couture is defined as "the regulating commission
that determines which fashion houses are eligible to be true haute couture
houses". Their rules state that only "those companies mentioned on
the list drawn up each year by a commission domiciled at the Ministry for
Industry are entitled to avail themselves" of the label haute couture. The
chambre does a lot more than decide which companies are haute couture. They
deal with piracy of style, foreign relations and coordination of the fashion
collection timetables, and do some international advertising for the French
fashion industry.The chambre also runs a Paris couture school to teach up and
coming designers and technicians the couture trade.The school helps bring new
designers to help the couture houses that are still present today. The criteria
for haute couture were established in 1945 and updated in 1992.</span></div>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>To earn the right to
call itself a couture house and to use the term haute couture in its
advertising and any other way, members of the Chambre syndicale de la haute
couture must follow these rules:</span></div>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-spacerun: yes;"> * </span>Design made-to-order for
private clients, with one or more fittings.</span></div>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>* Have a workshop (atelier)
in Paris that employs at least fifteen people full-time.</span></div>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-spacerun: yes;"> * </span>Must have twenty full-time
technical people in at least one atelier (workshop).</span></div>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-spacerun: yes;"> * </span>Each season (i.e., twice a
year), present a collection to the Paris press, comprising at least thirty-five
runs/exits with outfits for both daytime wear and evening wear.</span></div>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>However, the term haute
couture may have been misused by ready-to-wear brands since the late 1980s, so
that its true meaning may have become blurred with that of prêt-à-porter (the
French term for ready-to-wear fashion) in the public perception. Every haute
couture house also markets prêt-à-porter collections, which typically deliver a
higher return on investment than their custom clothing. Falling revenues have
forced a few couture houses to abandon their less profitable couture division
and concentrate solely on the less prestigious prêt-à-porter. These houses are
no longer considered haute couture.</span></div>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Many top designer
fashion houses, such as Chanel, use the word for some of their special
collections. These collections are often not for sale or they are very
difficult to purchase.</span></div>
<span style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Follow this link to see how a Couture Gown is made entirely by hand in
the House of Chanel.</span><br />
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<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Courier New"; font-size: 24.0pt; mso-bidi-font-size: 10.0pt; mso-font-kerning: 18.0pt;"></span></b><br />
<span style="font-size: large;"><a href="http://www.buzzfeed.com/amyodell/see-how-a-couture-gown-is-made-entirely-by-hand">http://www.buzzfeed.com/amyodell/see-how-a-couture-gown-is-made-entirely-by-hand</a></span><br />
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<br />Milenahttp://www.blogger.com/profile/10504087805276241834noreply@blogger.com0tag:blogger.com,1999:blog-3189775507035108575.post-33814885222084271952013-01-01T17:50:00.001-05:002013-01-01T17:50:40.369-05:00Popovy Sisters and their dolls<br />
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<a href="http://1.bp.blogspot.com/-2VPtr2Ct7PY/UONiB_qCWII/AAAAAAAAFHM/55_nGy4ytR8/s1600/PS+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://1.bp.blogspot.com/-2VPtr2Ct7PY/UONiB_qCWII/AAAAAAAAFHM/55_nGy4ytR8/s640/PS+1.jpg" width="456" /></a></div>
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<span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA;"><span style="mso-tab-count: 1;"> </span>For
<span style="mso-spacerun: yes;"> </span>most designers finding a muse to
portray the emotion, beauty and hidden narrative embedded within their
creations remains a fantasy. But for the twin sisters Elena and Ekaterina
Popovy, who uniquely use their background in sculpting and skill in Fashion
Design, creating their fantasies it is a miniature reality.</span></div>
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<span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Model #9<span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span>Model #3</span>
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<span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA;"><span style="mso-tab-count: 1;"> </span>The
sisters, who were born and raised in Perm, Russia, beautifully blend both Art
and Fashion by creating dolls each with an individual story and expression,
dressed in bold Haute Couture designs. Inspired by history, nature, cultures,
traditions and childhood fantasies, the two award-winning fashion designers
construct a beautiful narrative for each doll, giving them an enchanting story
and an engaging presence. The amalgamation of months of painstakingly
hand-crafted detail, from the delicate stretch of a little finger to the raw
emotion oozing from each doll’s face, all meticulously created by the designing
duo.</span></div>
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<span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Model #11<span style="mso-tab-count: 2;"> </span>Model
#3</span>
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<span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Pink Bird<span style="mso-tab-count: 2;"> </span>Pony<span style="mso-tab-count: 2;"> </span>Golden Horse</span>
</td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
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<div class="MsoNormal">
<span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA;"><span style="mso-tab-count: 1;"> </span>“First
a raw idea-emotion is born. Little details start to combine into one unified
idea. Then we start developing the concept of a project and making some
preliminary work. In our discussion process we correct each other and figure
out one idea that we then use to work with.” These ideas, which have blossomed
to seven collections since they began in 2004, have firmly placed them in the
forefront of this hidden section of the art world.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-a8mDWIQAqOk/UONiP5QS-oI/AAAAAAAAFIA/EOTyKAwPXGI/s1600/PS+6.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="444" src="http://1.bp.blogspot.com/-a8mDWIQAqOk/UONiP5QS-oI/AAAAAAAAFIA/EOTyKAwPXGI/s640/PS+6.jpg" width="640" /></a></td></tr>
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<span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Robin</span>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-x67XhZ7BL4A/UONiTZ5-gCI/AAAAAAAAFII/0A4sXeVMswk/s1600/PS+7.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="292" src="http://2.bp.blogspot.com/-x67XhZ7BL4A/UONiTZ5-gCI/AAAAAAAAFII/0A4sXeVMswk/s640/PS+7.jpg" width="640" /></a></td></tr>
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<span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Robin<span style="mso-tab-count: 2;"> </span>Bony<span style="mso-tab-count: 2;"> </span>Pink bird</span>
</td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
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<div class="MsoNormal">
<span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA;"><span style="mso-tab-count: 1;"> </span>The
research process holds an integral part to the successful execution of each
doll and every collection means a new technique behind its creation; “ We study
definite periods of history, we search for images, develop author’s textures,
chose techniques and draw sketches. Gestures, style, artistic delivery, costume
design – all of those things should comply with one theme to express the idea
to the maximum extend.”</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-SdZNV0h5iVM/UONiVbzyLbI/AAAAAAAAFIQ/97Vb5F7Nv4o/s1600/PS+8.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="410" src="http://3.bp.blogspot.com/-SdZNV0h5iVM/UONiVbzyLbI/AAAAAAAAFIQ/97Vb5F7Nv4o/s640/PS+8.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">
<style>
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<span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">The Dark Horse</span>
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<tr><td class="tr-caption" style="text-align: center;"> <style><!--
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<span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">A La Jupon</span>
</td></tr>
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<div class="MsoNormal">
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<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA;"><span style="mso-tab-count: 1;"> </span>After
studying at the </span><span style="font-family: Courier; font-size: 12.0pt;">Ural
State Academy of Architecture and Arts in Yekaterinburg, the Popovy Sisters
began making portrait dolls and mastered human gesture and anatomy, but soon
progressed to something more unique; “We started to seek something of our own,
a thing that no one in the doll-making world had ever done. We wanted to
express ourselves as fashion designers, but were also deeply involved in doll
making. We decided to set our fantasy free and combine the two directions.”</span></div>
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<br /></div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-4_qUv8efYzM/UONiEVXCsWI/AAAAAAAAFHU/47Kf2RvU-34/s1600/PS+10.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="448" src="http://2.bp.blogspot.com/-4_qUv8efYzM/UONiEVXCsWI/AAAAAAAAFHU/47Kf2RvU-34/s640/PS+10.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">
<style>
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<span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">From The Sea Foam</span></td><td class="tr-caption" style="text-align: center;"><span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"> </span>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-kURhyha_ttY/UONkWlGjuYI/AAAAAAAAFIw/A0aRQqr2RLQ/s1600/PS+11.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="450" src="http://4.bp.blogspot.com/-kURhyha_ttY/UONkWlGjuYI/AAAAAAAAFIw/A0aRQqr2RLQ/s640/PS+11.jpg" width="640" /></a></td></tr>
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<span style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><span style="mso-spacerun: yes;"> </span><span lang="EN-CA">Henoki - The Black Bird</span></span>
</td></tr>
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<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
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</div>
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</div>
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<div class="MsoNormal">
<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>After showing their
first collection “Fashion Moon” at the 3<sup>rd</sup> International Salon in
Moscow, known for showcasing innovative talent from across the globe, they
received two huge awards. “Best Thematic Collection” and “Best Fantasy-Style
Doll” and have since gone on to win more at a number of exhibitions and fashion
festivals. This, teamed with the openly positive reaction from its audience,
held the key to their springboard success within both the art and the fashion
worlds. “Every exhibition and event is a big thing for us. We look forward to
meeting our audience. We pay attention to every comment and talk to everybody
who has something to say. It is also a chance for us to introduce our
sculptures in our unique way, to show the atmosphere and emotions that we put
in each collection.”</span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-2YfhAX1Vm5s/UONkY4BZVtI/AAAAAAAAFI4/Ak2uU5fuqn4/s1600/PS+12.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="450" src="http://4.bp.blogspot.com/-2YfhAX1Vm5s/UONkY4BZVtI/AAAAAAAAFI4/Ak2uU5fuqn4/s640/PS+12.jpg" width="640" /></a></td></tr>
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<style>
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<span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA;">Light Shiver</span></div>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Every character,
standing around 17 inches tall, exudes a haunting reality with her own name and
background. Using a range of materials, from clay and porcelain to exotic
feathers and lace, the artistic designers create costumes to build dramatic
individual personalities that sink deep into femininity and beauty. An Egyptian
warrior, an African hunter, an oriental courtesan, all have a story to tell or
secret to share and not one doll fails to captivate and enchant.</span></div>
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<span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Such a Beauty Lives in the North</span></td><td class="tr-caption" style="text-align: center;"><span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"> </span></td><td class="tr-caption" style="text-align: center;"><span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"> </span></td><td class="tr-caption" style="text-align: center;"><span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"> </span></td><td class="tr-caption" style="text-align: center;"><span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"> </span></td><td class="tr-caption" style="text-align: center;"><span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"> </span></td><td class="tr-caption" style="text-align: center;"><span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"> </span></td><td class="tr-caption" style="text-align: center;"><span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"> </span></td><td class="tr-caption" style="text-align: center;"><span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"> </span></td><td class="tr-caption" style="text-align: center;"><span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"> </span></td><td class="tr-caption" style="text-align: center;"><span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"> </span></td><td class="tr-caption" style="text-align: center;"><span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"> </span></td><td class="tr-caption" style="text-align: center;"><span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"> </span>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-Q8OWgWzG15k/UONkfKRnyyI/AAAAAAAAFJQ/mmwwGxh1bjE/s1600/PS+15.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="462" src="http://1.bp.blogspot.com/-Q8OWgWzG15k/UONkfKRnyyI/AAAAAAAAFJQ/mmwwGxh1bjE/s640/PS+15.jpg" width="640" /></a></td></tr>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>So what’s next for the
talented twins? Their thoughts are now focusing towards more commercial avenues
and a possible collection; “All our dolls are one of a kind, but we are
planning to make limited edition dolls. Sooner or later our passion will lead
us to creation of an actual haute couture collection, maybe it will happen when
we get the feeling that we have said everything we wanted to say in Art. Maybe
in the near future we will dedicate our collection to Russian culture and art.”
The best yet to come from the Popovy Sisters whose detailed work is wowing both
its audiences and its critics. </span></div>
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Black Queen</span>
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Obama<span style="mso-tab-count: 2;"> </span>Moorsy </span>
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<span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA;"><span style="mso-spacerun: yes;"> </span>The
Hunter<span style="mso-tab-count: 2;"> </span>The
Guard</span></div>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>You can see more of the
Popovy Sisters dolls on their website</span></div>
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Milenahttp://www.blogger.com/profile/10504087805276241834noreply@blogger.com2tag:blogger.com,1999:blog-3189775507035108575.post-27873987957809572082012-12-08T15:21:00.001-05:002012-12-08T15:24:55.738-05:00'Snow White and the Huntsman': Colleen Atwood on Creating the Fairytale Costumes (Video)<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "Courier New",Courier,monospace;">Colleen Atwood on her inspiration
for wardrobe of Rupert Sanders' 'Snow White and the Huntsman'. She
shares that she made over a thousand costumes for the movie and co-star
Charlize Theron's initial reaction to her outfit.</span></div>
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<span style="font-family: "Courier New",Courier,monospace;">In an interview with <a href="http://www.hollywoodreporter.com/" target="_blank"><i>The Hollywood Reporter,</i></a> Atwood -- who has won three Academy Awards for best costume design for<i> Chicago, Memoirs of a Geisha and Alice in Wonderland -- </i>explained that she based her ideas for the costumes first on the script and Sanders’ vision.</span><br />
<span style="font-family: "Courier New",Courier,monospace;"> The most dramatic collection of costumes went to Theron, whose Queen
sports some stunning gowns, including Atwood’s current favorite, an
off-white and gold wedding gown with an intricate collar.</span><br />
<span style="font-family: "Courier New",Courier,monospace;"> Atwood says that the gowns mirror the progression of the Queen's
mental state. “She comes from kind of a hopeful place, thinking she’s
going to be a queen again,” Atwood said of Theron's character.</span><br />
<span style="font-family: "Courier New",Courier,monospace;"> “Her costumes kind of crumble along with her. They go from light to dark to very dark at the end,” she added.</span><br />
<span style="font-family: "Courier New",Courier,monospace;"> The wedding gown features a collar that Atwood says was inspired by
“a skeletal cage.” It’s made out of parchment paper that has been
manipulated into a complicated structural shape.</span><br />
<span style="font-family: "Courier New",Courier,monospace;"> The costume designer also told <i>THR</i> about the unique detail
she added to one of Charlize’s costume: dung beetle shells. She found
the item at a Thailand market, and each one had to be individually
drilled to put on the bodice of one of the gowns.</span><br />
<span style="font-family: "Courier New",Courier,monospace;"> In contrast, Stewart’s Snow White spends most of the film in just
two outfits: a earth-toned frock and a suit of armor. The frock, which
is a green tone that Atwood said went well with Stewart’s eyes, starts
out long, but gets a makeover from Hemsworth’s huntsman.</span><br />
<span style="font-family: "Courier New",Courier,monospace;"> “Once she escapes and meets up with the huntsman, he actually cuts
off her dress and makes it so she can run, and move, and do all the
things that she has to do,” Atwood said.</span><br />
<span style="font-family: "Courier New",Courier,monospace;"> The other outfit that Stewart wears is a suit of armor, which Atwood
revealed was designed to look like several different types of armor
made into one. “So, it’s armor of the people,” she added.</span><br />
<span style="font-family: "Courier New",Courier,monospace;"><br /></span>
<span style="font-family: "Courier New",Courier,monospace;"> Watch<i> THR</i>’s full interview with Colleen Atwood above.</span><br />
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Milenahttp://www.blogger.com/profile/10504087805276241834noreply@blogger.com0tag:blogger.com,1999:blog-3189775507035108575.post-41918319935114307122012-11-18T17:19:00.003-05:002012-11-18T17:29:08.596-05:00Fernando de Szyszlo<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "Courier New",Courier,monospace;"><span style="font-size: 12.0pt;"> Fernando De Szyszlo Valdelomar (born
July 5, 1925 in Lima) is a Peruvian artist who is a key figure in advancing
abstract art in Latin America since the mid-1950s, and one of the leading
Abstract artists in Peru.</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Courier;">Untitled </span></span>
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<span style="font-family: "Courier New",Courier,monospace;"><span style="font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Szyszlo
studied at the School of Fine Arts of the Pontifical Catholic University of
Peru. At the age of 24 he traveled to Europe where he studied the works of the
masters, particularly Rembrandt, Titian and Tintoretto, and absorbed the varied
influences of cubism, surrealism, informalism, and abstraction. While in Paris
he met Octavio Paz and André Breton and frequented the group of writers and
intellectuals that met regularly at the Cafe Flore engaging in vigorous
discussions on how they could participate in the international modern movement
while preserving their Latin American cultural identity. Upon his return to
Peru, Szyszlo became a major force for artistic renewal in his country breaking
new ground by expressing a Peruvian subject matter in a non-representational
style. He was married to a Peruvian poet Blanca Varela, with whom he has two
children.</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Courier;">Casa de Venus</span></span>
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<span style="font-family: "Courier New",Courier,monospace;"><span style="font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Fernando
de Szyszlo is a parsimonious octogenarian but a gentleman. He’s not just an
artist, but an intellectual at the forefront of Peruvian culture for the past
50 years, a keen observer of his country’s political and social life. At times,
he has been critical of what has happened around him, at other times laudatory,
but never indifferent.</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Courier;">Route to Mendieta
La Habitacion</span></span>
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<span style="font-family: "Courier New",Courier,monospace;"><span style="font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Szyszlo
has been painting for nearly 60 years, confronting the canvas on a daily basis.
He tells me that he has kept some 40 pieces and that he is always sad to part
with his works. He feels that they are never finished, a poignant source of
dissatisfaction for an artist who has produced over 2,500 paintings, which are
on display in museums or part of private collections all over the world.</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Courier;">Spain
El Lugar, Los Instrumentos VI</span></span>
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<span style="font-family: "Courier New",Courier,monospace;"><span style="font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>He
started out studying architecture, but explains, “To improve my drawing, I took
a night course and then changed my career goals.” He traveled to Paris in the
late 1940s and eventually had to face a difficult choice: to remain in a
challenging but stimulating environment or to return to his native country. He
decided to come back home to Peru, because “You can’t contribute to progress
from a Parisian café.”</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Courier;">El Innombrable (The Unnameable) </span></span>
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<span style="font-family: "Courier New",Courier,monospace;"><span style="font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Lyricism
of color enriched by rich textural effects and a masterly handling of light and
shadow are hallmarks of Szyszlo's painting. Highly identified with the linking
of ancient cultures to a modernist artistic language, Szyszlo's art reflects a
broad culture that draws on many sources from philosophy and science to
literature. His evocative allusions to rituals, myths, and the geography of sea
and desert landscapes are often associated with pre-Columbian sacred sites.
Since his first solo exhibit in Lima in 1947, Szyszlo has had over 100
individual exhibitions in museums and galleries in Latin America, Europe and
the United States and has participated in the prestigious international
biennials of São Paulo and Venice. His work is represented in important public
and private collections throughout the world.</span></span></div>
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<span style="font-family: Courier; font-size: 12.0pt;"> <span style="font-size: x-small;"> Ceremonia</span> </span></div>
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<span style="font-size: x-small;"><span style="font-family: Courier;"> Getting
out of the Labyrinth Ronda Nocturna</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Courier;"> Dos
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<span style="font-size: x-small;"><span style="font-family: Courier;">Pasaje Paracas </span></span>
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<span style="font-size: x-small;"><span style="font-family: Courier;"> Fernando De Szyszlo</span></span>
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Milenahttp://www.blogger.com/profile/10504087805276241834noreply@blogger.com0tag:blogger.com,1999:blog-3189775507035108575.post-52748400337695557062012-10-02T12:47:00.000-04:002012-10-02T12:51:50.814-04:00EMBROIDERY STUDY<style>
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<span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA;"><span style="mso-tab-count: 1;"> </span>A
couple of years ago I was invited to take part in a local college program which
was to be compiled of several courses on Fibre Art. My particular part in it
was teaching embroidery. Since one of the issues that are very dear to my heart
as an artist is the preservation of old traditions in art and crafts, I decided
to design the course around several classic embroidery techniques.</span></div>
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<span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA;"><span style="mso-tab-count: 1;"> </span>My
idea was to introduce the students to Cross Stitch, Crewel, Chain Stitch,
Couching, Trapunto, Punch Needle and Lace on Net. I was going to show them
samples of each and encourage them to choose the two that are most appealing to
them. My hope was that distinct personalities and tastes would play their role
and the students would make different choices. That way even though they wouldn’t
be able to try all the techniques on their own, they’d be able to observe and
interact with others who did and eventually return to continue their study, or
even attempt to try them on their own. </span></div>
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developed one small floral motif, which was simple enough to be completed in
the course of several classes, yet pretty enough to be put to a further use and
incorporated in another project.</span></div>
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<span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA;"><span style="mso-tab-count: 1;"> </span>I
intentionally used the same motif for all the different styles, in order to
illustrate how various techniques create completely distinct look and effect.
The idea was that when someone mastered more of the embroideries, they would have
better and more interesting options when they designed their own projects.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span lang="EN-CA" style="font-family: Courier; font-size: small;">Couching</span></td></tr>
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<span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA;"><span style="mso-tab-count: 1;"> </span>Unfortunately,
the idea about the Fibre Art courses was never realized at the end. However, I
managed to complete the samples and I’m quite satisfied with the effect. I hope
I can still put them to good use one day. After all they take a while to
complete and it would be such a loss to keep them always hidden away in a box.<span style="mso-spacerun: yes;"> </span></span></div>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-mMfIXXqXdvo/UGsYTstGECI/AAAAAAAAFDE/CfI-oj6jdfU/s1600/Cross+Stitch-w.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="http://2.bp.blogspot.com/-mMfIXXqXdvo/UGsYTstGECI/AAAAAAAAFDE/CfI-oj6jdfU/s640/Cross+Stitch-w.jpg" width="348" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cross Stitch Embroidery</td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-iDA-i9Xjh5Y/UGsYiIDMxGI/AAAAAAAAFDc/nlcLCjsiv70/s1600/Needle+Lace-w.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="http://1.bp.blogspot.com/-iDA-i9Xjh5Y/UGsYiIDMxGI/AAAAAAAAFDc/nlcLCjsiv70/s640/Needle+Lace-w.jpg" width="350" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> Lace on Net Embroidery</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Punch Needle Embroidery</td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></div>
Milenahttp://www.blogger.com/profile/10504087805276241834noreply@blogger.com1tag:blogger.com,1999:blog-3189775507035108575.post-27249741787832067102012-08-26T18:07:00.001-04:002012-08-26T18:10:54.142-04:00Ran Hwang<style>
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<span lang="EN-CA" style="font-family: Courier; font-size: small;">Whimsical Dream</span>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Ran Hwang, a
Korean-born artist working in New York, Zurich and Seoul, is best known for
large-scale wall installations in which buttons, pins, beads and thread are
used to create silhouette images of traditional Korean vessels, falling blossoms
or caged birds. At times, the shapes are those of such diversely revered
figures as the Buddha or Marilyn Monroe. Pinned directly onto the wall of the
gallery, using each element like a pixel on a screen, at closer look, the
amount of individual buttons is somewhat overwhelming, but from afar, the
installation transforms into one breathtaking image.</span></div>
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<span lang="EN-CA" style="font-family: Courier; font-size: small;">Reality Game</span>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Hwang’s working method,
developed over 25years, has always been something of a private performance, if
not a ritual. Projecting an image on a hard surface such as a wall, ceiling,
window frame or portable panel, she traces the figure’s contours, then
laboriously fills in the outline with thousands of buttons or beads impaled on
long straight pins. The obsessively repetitive action (aided these days by
numerous assistants) results in works like Sweet Destiny, 2010, a roughly 23
1/2-foot-long image of bright red plum blossoms – a traditional symbol of
renewal and/or fleeting youth-under which lies an uncoiled snake, beautiful yet
deadly. This creature dramatically offsets the work’s almost too gorgeous
spring-time motif, suggesting that every object of desire has its dangers, and
that lovely illusion and grim reality coexist like two sides of a coin.</span></div>
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<span style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><span style="mso-spacerun: yes;"> </span></span><span style="font-family: Courier; font-size: small;">Sweet Destiny</span></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"><span style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"> </span>
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<span style="font-family: Courier; font-size: small;">Sweet Destiny - detail</span>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Dualism – ever present
in her works, is even more evident in the video work Garden of Water (2010), a
room-size installation in which ghostly images of chandeliers are projected on
transparent sheets of Plexiglas. A huge, silhouetted spider begins to roam
about a web, and before long we see its would-be prey. Slowly at first, then
with accelerating speed, the chandeliers are overrun by hordes of skittering
bugs. Just when the infestation is at its peak, a noisy deluge washes all the
shadowy critters away, and the process begins again. The cyclical cleansing is
not only mysterious in its origins but also discomfortingly futile.</span></div>
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<span style="font-family: Courier; font-size: small;">Garden of
Water</span></div>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>In recent years, the
Korean-born Ran Hwang, resident of the U.S. since 1997, has developed two
related bodies of work: one composed of moderately scaled 3D collages, the
other comprising large wall installations that utilize buttons, pins and thread
to evoke a hovering figure of the Buddha. In both modes, between which she
alternates freely, Hwang addresses current social issues—particularly “menial”
labour and its relation to the glamour trade—as well as timeless spiritual
concerns. The overall effect of her work is to ennoble commonplace materials,
processes and persons, while simultaneously grounding and authenticating two
very different types of grandeur-one pop-cultural, the other divine.</span></div>
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<span style="font-family: Courier; font-size: small;">The Rest </span>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>There is, then, a
teasing, peek-a-boo quality to Hwang's evocations of the Buddha. In some works,
the great teacher is a presence, a distinct form in positive space, created
from thousands of small items-usually buttons and pins-concentrated to imply a
solid mass. Other pieces show only a haunting linear outline. Still others
offer a field of tiny elements within which the Buddha is a virtual knockout, a
phantom of negative space. Beyond its innate formal intrigue, this technique
has a major thematic import. The absence of one who is nevertheless very much
there implies that spiritual substance resides in the mind and the heart of the
willing perceiver. Every religious devotee, like every lover, knows the paradox
of a being who is compellingly present even when materially absent, and whose
fleshly manifestation seems only a token of an immeasurably finer, untouchable
essence.</span></div>
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<span style="font-family: Courier; font-size: small;">East
Palace</span></div>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>When an artist and the
right subject matter find each other, the art can really take off. When Hwang
was a child in Korea her father used to take her to Buddhist temples. No child
is ever fully aware of the meaning of worship and ritual, but an affinity for
the sacred is planted then, and is a seed that can flourish later. For Hwang it
blossomed as art.</span></div>
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<span style="font-family: Courier; font-size: small;">Empty me</span>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Zen Buddhism is
apparent not only in Hwang’s motifs, but also in the process of constructing
the works. Weaving thread, creating hand-made paper buttons, hammering each pin
approximately 25 times until it is secure are all time-consuming tasks. The
monotony and receptiveness of these actions require the upmost concentration
and discipline, recalling the meditative state practiced by Zen masters. In the
catalogue essay, Barbara Pollack writes: “On one hand, it is an overtly labour-intensive
mode of art-making, to the point that thinking about the sheer effort can
distract from appreciation of the work. But, for the artist, the task of
mounting buttons upon buttons, one pin at a time, parallels a Buddhist monk's
practice of staring at a blank wall for months on end as a path to
enlightenment. Her art-making is entirely meditative for Hwang, and she hopes
that viewers can share the meditative state evoked by her strongest work.”</span></div>
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<span style="font-family: Courier; font-size: small;">Garden of Water 2</span>
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<span style="font-family: Courier; font-size: 12.0pt;">Born in
the Republic of Korea in 1960, Ran Hwang lives and works in both Seoul and New
York City. She studied at the School of Visual Arts in New York City and
attended the Graduate School of Fine Arts at Chung-Ang University in Seoul. She
has exhibited at several international institutions including the Queens Museum
of Art, New York; the Chelsea Art Museum, New York; The Seoul Arts Centre
Museum; and The Jeju Museum of Art, Jeju Island. Hwang’s work is also a part of
numerous private and public collections including The National Museum of
Contemporary Art, Seoul; and The Hammond Museum, North Salem, NY.</span></div>
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<span style="font-family: Courier; font-size: small;">Dreaming of Joy</span>
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secret</span></div>
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<span style="font-family: Courier; font-size: small;">Whimsical Dream 1</span>
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Milenahttp://www.blogger.com/profile/10504087805276241834noreply@blogger.com0tag:blogger.com,1999:blog-3189775507035108575.post-77967997304978291472012-07-07T15:15:00.003-04:002012-07-07T15:15:45.786-04:00Rex Ray<style>
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<span style="font-family: Courier; font-size: 12pt;"><span> </span>The
artwork of San Francisco graphic designer Rex Ray has become a prolific
mediation on the abstract and dynamic nature of fluid forms. Begun at night
simply as a personal and therapeutic visual antidote to his highly self-edited,
computer-based commercial work during the day, his art projects (small-scale
paintings and collages now numbering in the thousands) came from humble
origins; scissors, paste and fashion magazines. Ray brings an unusually tight
sense of craft and precision to the compositions of these smallish, highly colourful,
and always-playful artworks. </span></div>
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<span style="font-family: Courier; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span>The
result is a fusion of art and design sensibilities. Biomorphic-, teardrop-, and
nature-based forms comprise the bulk of Ray's vocabulary, and paintings such as
'The New Water' appear to have been created mid-drip. Its immediate
communication of the joy of movement is balanced against its momentarily
arrested state; the delight of composing just for the sake of composing is
immediately apparent. Ray creates forms of indeterminate origins-familiar but
not identifiable-that offer the viewer a sense of spontaneous liberation. The
question is not why Ray does such things, but why most other graphic designers
and painters do not.</span></div>
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<span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA;"> Aephilae</span></div>
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Rex Ray is an acclaimed graphic artist whose visual works include paintings,
collages, prints and photographs. Ray’s recent work employs 1950s-styled
organic shapes inspired by Pucci designs. His posters are characterized by
intense, jewel-like colours, and their stylistic variety reflect his ability to
adapt lettering, sly symbolism, portrait art and free-hand drawing to unique
artists and music.</span></div>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>For Rex Ray, the joy of
making and viewing art is his continuing motivation. Drawing inspiration from
his acknowledged influences of the Arts and Crafts Movement, Abstract
Expressionism, organic and hard-edged abstraction, pattern and textile design,
and Op Art, Ray playfully combines these formalist concepts with decorators
tips gleaned from lowbrow publications and sources of popular culture in his
pursuit to create beautiful things. Gracefully bridging the gap between fine
and applied art, he distinguishes himself in each realm.</span></div>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Ray’s work exudes
beauty with a subversive edge that stems from an attitude grounded in
alternative subculture. He was an early admirer of punk and new wave music.
Music holds a special place in his life. A former record store employee and
devoted collector, he has worked with leading contemporary musicians,
contributing designs for many album covers and concert posters for artists such
as Radiohead, Bjork, Nine Inch Nails, Deee-Lite, and David Bowie.</span></div>
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<span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA;">Erioderma </span></div>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>In the art world,
design is a troublesome concept: purists will tell you that design is too close
to "real life," too "utilitarian" to adorn a gallery's
walls. Rex Ray, who's also well known for his graphic design work, is that rare
artist who manages to maintain credibility with both his commercial and his
gallery projects. He has an uncommon facility with visual balance and slightly
barbed beauty, which are in full evidence in this expansive solo exhibition. </span></div>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>The centrepiece of the
shows is usually a wall covered with dozens of collages. These modest works on
paper are composed of images and text (surgeon general's warnings, splashy
headlines) from glossy magazines that have been cut into ovals, squares, and
vaguely atomic-age shapes and arranged into mesmerizing and pattern-intensive
abstractions. The fact that these are recycled from the finished product of
graphic designers for mass media magazines adds a sly irony to the project. </span></div>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Elsewhere, Ray displays
paintings that employ similarly 1950's-styled organic shapes and collaged
elements that sometimes bring to mind early paintings by Lari Pittman, another
artist with designer roots. The electric quality of his paintings bears some
relationship to the artist's use of digital media -- another hot button in the
art world -- well illustrated with a suite of luscious computer-generated
prints that exude the almost cosmological glamour of a rain-soaked street
reflecting coloured city lights. Like many of his works, they reveal that Ray
may blur boundaries between media, but he can seemingly effortlessly squeeze
out images with a universal appeal.</span></div>
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<span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span>Rex Ray was born in
Germany in 1956. He lives and works in San Francisco’s Mission District. Before
moving to California in 1981, he was a long time resident of Colorado Springs
and he still maintains his connection to Colorado. In 1988, he received a BFA
from San Francisco Art Institute, CA. </span><span style="font-family: Courier; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">As
an accomplished and award-winning graphic artist, Ray has produced distinctive
and striking designs for books, magazines, posters, and compact disc covers,
including recent projects for Steven Spielberg and David Bowie. </span></div>
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<span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA;"> Parmotrema</span></div>
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<span style="font-family: Courier; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;"><span style="mso-tab-count: 1;"> </span></span><span style="font-family: Courier; font-size: 12.0pt;">His paintings, collages, and
designs have been widely exhibited at galleries and museums, including San
Francisco Museum of Modern Art, San Jose Museum of Modern Art, and Yerba Buena
Center for the Arts, San Francisco. He is an accomplished graphic designer with
a client list that includes Apple, Sony Music, and The New Museum of Contemporary
Art, New York. </span><span style="font-family: Courier; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">In 2009, Ray’s work
was exhibited in a solo show at The Museum of Contemporary Art, Denver and was
the subject of a full length PBS Documentary “How to Make a Rex Ray”. Ray’s
rock poster work was featured in the exhibition of The Art of Design at SFMOMA.</span></div>
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<span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA;">Thelidium </span></div>
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<span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA;"> Anzia</span></div>
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<br /></div>Milenahttp://www.blogger.com/profile/10504087805276241834noreply@blogger.com1tag:blogger.com,1999:blog-3189775507035108575.post-77780386784972413502012-06-07T16:05:00.001-04:002012-06-07T16:07:21.478-04:00Jodi Colella<style>
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<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-4vgthP-7k-A/T9EEcUktjxI/AAAAAAAAE9E/heGjRaHvFD0/s1600/JC+1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="http://4.bp.blogspot.com/-4vgthP-7k-A/T9EEcUktjxI/AAAAAAAAE9E/heGjRaHvFD0/s640/JC+1.jpg" width="296" /></a></td></tr>
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<span style="font-size: x-small;"><span lang="EN-CA" style="font-family: Courier;">In the Beginning</span></span>
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<div class="paragraphstyle" style="margin: 0.1pt 0in;">
<span style="font-family: Courier; font-size: 12pt;"> “My work references the
biological world, uses found and manufactured materials, and incorporates a
methodical and meditative work practice. </span></div>
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<span style="font-family: Courier; font-size: 12pt;">I create structures
that can act as metaphors for being human often taking on anthropomorphic
gestures and emotions. I want to inspire questions about where an individual
ends and the world begins.</span></div>
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<span style="font-family: Courier; font-size: 12pt;"> Found fishing ropes
morph into nerve capillaries, tubes of screen congregate <br />
into honeycomb, and wool grows from the crevices of driftwood - as if creating
new species. It is my goal to engage - to create a physical attraction
that beckons <br />
one to want to touch and BE touched by what they see.”</span></div>
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<span style="font-family: Courier; font-size: 12pt;"> Jodi Colella</span></div>
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<span style="font-size: x-small;"><span lang="EN-CA" style="font-family: Courier;">Hive</span></span>
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<span style="font-family: Courier; font-size: 12pt;"> </span></div>
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<span style="font-family: Courier; font-size: 12pt;"> Jodi Colella is a mixed
media sculptor and teacher who explore the character of the materials while
creating abstractions of natural forms and transforming ordinary materials into
the unexpected. Her nimble mind and nimble fingers have produced an array of
compelling sculptures. She uses traditional crafting techniques such as
crochet, knitting, felting and embroidery to create structures that are
anything but traditional. The needle felted and found driftwood sculptures
pictured here mimic organic patterns found in science.</span></div>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-WB2UTNItZb0/T9EEqvj8HBI/AAAAAAAAE9s/wDjg0xssI4Y/s1600/JC+3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="404" src="http://2.bp.blogspot.com/-WB2UTNItZb0/T9EEqvj8HBI/AAAAAAAAE9s/wDjg0xssI4Y/s640/JC+3.jpg" width="640" /></a></td></tr>
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<span style="font-size: x-small;"><span lang="EN-CA" style="font-family: Courier;">Diana Colony</span></span></div>
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<span style="font-family: Courier; font-size: 12pt;"> The artist, who has a
degree in Biology from Boston University was originally a researcher at the
Dana Farber Cancer Institute in Boston, but did not feel the career was the
right fit for her. She got a certificate in Graphic Design in 2000, and worked
in the field for a while before she gave that up to pursue her own art. Colella
describes herself as an intuitive artist, and trusts that intuition implicitly.</span></div>
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<br /></div>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-Xo_GJVvZwvc/T9EGlcg3KAI/AAAAAAAAE-c/gQfLbWXBy6s/s1600/JC+4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="298" src="http://4.bp.blogspot.com/-Xo_GJVvZwvc/T9EGlcg3KAI/AAAAAAAAE-c/gQfLbWXBy6s/s640/JC+4.jpg" width="640" /></a></td></tr>
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<span style="font-size: x-small;"><span lang="EN-CA" style="font-family: Courier;">Receptor Nuclei I</span></span></div>
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<span style="font-family: Courier; font-size: 12pt;"> </span><span style="font-family: Courier; font-size: 12pt;">Humans are tactile beings. Our fingers
seem to be drawn to materials, be they smooth as silk or rough as bark. Jodi
Colella's fingers have a restless curiosity, not content to let the
transformative potential of materials they touch lie dormant. A
Somerville-based fiber artist who's as fascinated by her process as she is by
its outcome, Colella sees the bizarre and enticing capabilities of the
substances she works with. "I'm very curious about materials," she
says. "Just playing with them to find their qualities. Usually they do
unexpected things."</span></div>
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<span style="font-size: x-small;"><span lang="EN-CA" style="font-family: Courier;">Seeds</span></span>
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<span style="font-family: Courier; font-size: 12pt;"> Her inquisitiveness
comes in part from a love of nature's building blocks. "Aesthetically, I
have always loved cellular forms. In fact, if you look at my notebooks from
back then," she laughs, referring to her days studying biology at BU,
"I didn't write too much information, but I had all the images." <i style="mso-bidi-font-style: normal;">Seeds</i> and Nucleus are recent works of
Colella's that evokes biological forms but are rooted in textile traditions
too. She experimented with needle felting (a method of transforming wool fleece
into felt), creating dysmorphic orbs of burred fuzziness and vivid layers of color.
The process signified concentrated potential, each needle prick a compacting of
Colella's own energy into the "seed."</span></div>
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<span style="font-size: x-small;"><span lang="EN-CA" style="font-family: Courier;">Epithelia Lichen</span></span></td><td class="tr-caption" style="text-align: center;"><span lang="EN-CA" style="font-family: Courier; font-size: 12pt;"> </span>
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<br /></div>
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<span style="font-family: Courier; font-size: 12pt;"> Colella first
encountered traditional textile methods like felting and knitting during
summers at her grandparents' home on Cape Cod. "I was brought up always
working with my hands," notes the former graphic designer, "and I've
always loved doing that. So I think that's where I start, and then hopefully it
goes somewhere else." While fleece is a conventional material, Colella's
fingers often reach for things that stretch the definition of fiber, such as
window screen that she's used to make <i style="mso-bidi-font-style: normal;">Undercurrent</i>,
a work about barriers and duplicity. </span></div>
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<span style="font-size: x-small;"><span lang="EN-CA" style="font-family: Courier;">Undercurrent</span></span></div>
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<span style="font-family: Courier; font-size: 12pt;"> </span><span style="font-family: Courier; font-size: 12pt;">Like many artists in our creative
environs she wears many hats. She teaches at the deCordova museum in Lincoln,
Mass, working with students with fiber art and sculptural jewelery. </span><span style="font-family: Courier; font-size: 12pt;">As a teacher, she helps students
develop their art, from fiber to sculptural jewelery. Patience, she says, is
the key. "It's very difficult to be in the position of trying to figure
something out but you can't. And to have somebody show you, or indicate a way
that you can figure it out yourself that makes you feel good is really
important. There's just a level of fulfillment there in people sharing with you,
you sharing with people." It's easy to imagine a student of Colella's
catching her fervour for experimenting with materials. "Very often,"
she says, eyes twinkling, "you get these surprises that are nothing you
would ever dream of. That's what I love about it."</span></div>
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<span style="font-size: x-small;"><span lang="EN-CA" style="font-family: Courier;">Marrow Blast</span></span>
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<span style="font-family: Courier; font-size: 12pt;"> Jodi Colella shapes
constructions that mimic the patterns of science while observing the inherent
character of materials, transforming them from the ordinary to the unexpected.
The results are both beautiful and full of contradictions, monumental and
delicate, organic and man made. Jodi's work has exhibited nationally in museums
and galleries winning several awards including from The Textile Center
Minneapolis, New Fibers 2010 and will be included in "GREEN: a Color and a
Cause" at The Textile Museum in Washington D.C.</span></div>
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<span lang="EN-CA" style="font-family: Courier; font-size: 12pt;"><span style="font-size: x-small;">What Looks Like an Elephant</span><span style="font-size: x-small;"> </span> <span style="font-size: x-small;">/detail/</span></span>
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<span style="font-size: x-small;"><span lang="EN-CA" style="font-family: Courier;">Nuclei III</span></span>
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<span style="font-size: x-small;"><span lang="EN-CA" style="font-family: Courier;">Mushroomed /detail/</span></span>
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<span style="font-size: x-small;"><span lang="EN-CA" style="font-family: Courier;">Jodi Colella</span></span>
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<br />Milenahttp://www.blogger.com/profile/10504087805276241834noreply@blogger.com0tag:blogger.com,1999:blog-3189775507035108575.post-38258063416189139482012-04-15T14:25:00.000-04:002012-04-15T14:25:52.581-04:00Judith Content<style>
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</style> <span lang="EN-CA" style="font-family: "Courier New",Courier,monospace; font-size: 12pt;">Leaves Fall, Feathers Float, Fish Swim Upstream</span> </td></tr>
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</div><div class="MsoNormal"><span lang="EN-US" style="font-family: Courier;"><span style="mso-tab-count: 1;"> </span>Judith Content is a fiber artist from Palo Alto, California, who utilizes a contemporary interpretation of the Japanese dye technique, Arashi-Shibori. Her hand-dyed, quilted, and pieced silk wall pieces often depict elaborate landscapes that are inspired by the mystery and majesty of the Pacific coastline.</span></div><div class="MsoNormal"><span lang="EN-US" style="font-family: Courier;"><span style="mso-tab-count: 1;"> </span>Content has been an artist for more than thirty years, starting with training in painting to being a student of Japanese shibori and branching out to many other mediums.<span style="mso-spacerun: yes;"> </span>Highly skilled in the dyeing arts, Judith has developed her own arashi (pole wrapping) shibori technique that subtracts and adds color, which she uses to constructs large kimono-shaped wall panels with a palette of various silk fabrics. This approach produces a unique and calming effect, attractive to the eye, regardless of the piece’s size.</span></div><div class="MsoNormal"><br />
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</div><div class="MsoNormal"><span lang="EN-US" style="font-family: Courier;"><span style="mso-tab-count: 1;"> </span>As this technique is practiced in Japan, fabric was tightly wrapped and compressed on long polished wooden poles. The poles were then submerged in vats of indigo dye. The threads used to secure the fabric to the pole as well as the manipulated pleats resist the penetration of dye. Patterns reminiscent of wind- driven rain emerged from this process. Perhaps this is why the dye process was named arashi, which translates as the word “storm” in Japanese.</span></div><div class="MsoNormal"><br />
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</div><div class="MsoNormal"><span lang="EN-US" style="font-family: Courier;"><span style="mso-tab-count: 1;"> </span>For over 30 years, Content has been exploring and refining this dye technique, creating a contemporary approach to an ancient technique. She has devised her own ways of wrapping and applying the dye. Over the years Judith Content has refined several unique approaches of the traditional arashi-shibori. Rather than indigo she uses a broad spectrum of the beautiful Japanese “miyakozome” dyes to create a collection of silks just as a painter would mix their paints. Judith also at times removes layers of color through delicate bleaching processes for even more intricate colorations. This process creates subtle gradations of color that merge and morph into each other. The viewer cannot always tell when and how one color becomes another. Although she can control the results to a great extent, Content states “the element of surprise when the silk is unwrapped and the patterns are revealed never fails to excite me.”</span></div><div class="MsoNormal"><br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-0cDGJWeDs8E/T4sOQtxFf8I/AAAAAAAAE8I/Dik95VRJzdI/s1600/JC+4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="344" src="http://4.bp.blogspot.com/-0cDGJWeDs8E/T4sOQtxFf8I/AAAAAAAAE8I/Dik95VRJzdI/s640/JC+4.jpg" width="640" /></a></td></tr>
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</style> <div class="MsoNormal"><span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA;">Sweltering Sky<span style="mso-spacerun: yes;"> </span>La Briere</span></div></td></tr>
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</div><div class="MsoNormal"><span lang="EN-US" style="font-family: Courier;"><span style="mso-tab-count: 1;"> </span>During the summer of 2010 when Content visited the Bosque del Apache National Wildlife Refuge in New Mexico she was drawn to the mission of their Watershed Educational Project which she describes as “an exciting exploration of river ecology, riparian/wildlife habitat, cultural traditions of New Mexico and the restoration efforts of this vital wetlands, at home in a desert landscape. Exploring the deep water marsh on boardwalks and trails I was mesmerized by the sensation of reeds and grasses towering overhead, their graceful silhouettes reflected in the water at my feet. The experience gained an element of mystery when the sky grew dark and rain poured down. This morphed to exhilaration when the sun came out, mirroring the sky on water droplets balancing on the blades of marsh grasses.” Content knew this strange and new environment would find its place in her future projects.</span></div><div class="MsoNormal"><br />
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</style> <span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Calligraphy</span> </td></tr>
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</div><div class="MsoNormal"><span lang="EN-US" style="font-family: Courier;"><span style="mso-tab-count: 1;"> </span>Judith says of her marriage of technique and narrative: “By integrating technique and vision I hope to evoke a mood, create a feeling or stir a memory that resonates in a deeply personal way with the viewers of my art. I am passionate about the process involved in my work and relish the labor of its creation.” Her work captures a moment in time and freezes it so the artist and the viewer can return and each time find new colors and ways in which they interact with one another. The experience takes one on a familiar journey that is seen newly each time. Content’s handling of light and dark, brilliant color juxtaposed to the most subtle of hues, and the interaction of natural light coupled with the size of her pieces envelop the viewer in a unique experience.</span></div><div class="MsoNormal"><br />
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</style> <span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Portal</span></td><td class="tr-caption" style="text-align: center;"><span lang="EN-CA" style="font-family: Courier; font-size: 12pt;"> </span></td><td class="tr-caption" style="text-align: center;"><span lang="EN-CA" style="font-family: Courier; font-size: 12pt;"> </span> </td></tr>
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</div><div class="MsoNormal"><span lang="EN-US" style="font-family: Courier;"> </span></div><div class="MsoNormal"><span lang="EN-US" style="font-family: Courier;"><span style="mso-tab-count: 1;"> </span>Like the Japanese haiku her work explores the essence of an image, a memory, or a moment in time. She finds inspiration in nature’s waterways, from coastal estuaries to desert pools. She is especially drawn to the haunting beauty of fens and marshes and the relationship between light and shadows as atmospheric changes abstract the landscape.</span></div><div class="MsoNormal"><br />
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</style> <span lang="EN-CA" style="font-family: Courier; font-size: 12.0pt; mso-ansi-language: EN-CA; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Precipice<span style="mso-spacerun: yes;"> </span>Chazm</span> </td></tr>
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</div><div class="MsoNormal"><span lang="EN-US" style="font-family: Courier;"><span style="mso-tab-count: 1;"> </span></span><span lang="EN-US" style="font-family: Courier; mso-bidi-font-size: 10.0pt;">A full-time studio artist for more than twenty years, Judith Content has shown nationally in exhibitions such as Visions and Quilt National as well as internationally in Japan, Indonesia, the United Kingdom, Canada, Belgium and France. Her work is represented by several galleries nationally, and her most recent solo exhibition was at Thirteen Moons Gallery in Santa Fe, New Mexico in 2004. She has work in the permanent collection of the Fine Arts museums of San Francisco, the Museum of Contemporary Arts and Design, New York, NY, and the International Shibori Collection belonging to the city of Nagoya, Japan. Publications include "The Art Quilt" by Robert Shaw, "The Kimono Inspirations: Art and Art to Wear in America" by Rebecca A.T. Stevens, "Memory on Cloth: Shibori Now" by Yoshiko I. Wada and "Artwear: Fashion and Anti-Fashion" by Melissa Leventon. </span></div><div class="MsoNormal"><br />
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</div>Milenahttp://www.blogger.com/profile/10504087805276241834noreply@blogger.com1tag:blogger.com,1999:blog-3189775507035108575.post-71623419455739980042012-03-25T19:38:00.001-04:002012-03-25T19:40:01.491-04:00Makers Profiles<div class="separator" style="clear: both; text-align: center;"><br />
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</div><div id="watch-description-text"><div id="eow-description"> <span style="font-size: small;"><span style="font-family: "Courier New",Courier,monospace;"> <span style="font-size: large;">Maker Profiles is a series of Short Movies giving a direct, ex temporary view of leading British and American Fiber Artists.I've always find fascinating to watch an Artist at play.</span></span></span></div><div id="eow-description"><span style="font-size: large;"> </span><span style="font-family: "Courier New",Courier,monospace; font-size: large;">The artists are shown working in their studios with their resources, demonstrating techniques, showing processes and talking freely about their ideas and aims.</span></div><div id="eow-description" style="font-family: "Courier New",Courier,monospace;"><span style="font-size: large;"> Created initially by Graham Eccles and Irene Edwards but now with Val Burnett, the Maker Profile series is essential viewing for other makers, students, educationalists and anyone interested in craft processes and procedure. </span></div></div><div class="separator" style="clear: both; text-align: center;"><br />
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</div>Milenahttp://www.blogger.com/profile/10504087805276241834noreply@blogger.com0tag:blogger.com,1999:blog-3189775507035108575.post-62289226084041274552012-03-11T14:19:00.016-04:002012-03-25T19:42:56.920-04:00Sue Benner<style>
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</style> <span lang="EN-CA" style="font-family: Arial; font-size: 12pt;">Nest II</span> </td></tr>
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</div><div class="MsoNormal" style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt; mso-para-margin-bottom: .01gd; mso-para-margin-left: 0in; mso-para-margin-right: 0in; mso-para-margin-top: .01gd;"><span style="font-family: Courier; font-size: 12pt;"> Sue Benner - born in 1955 in Iron River in the upper peninsula of Michigan and raised in Oshkosh, Wisconsin, is a full time studio artist creating art quilts and other dyed and painted fabric constructions since 1980 when she</span><span style="font-family: Courier; font-size: 12pt;"> became one of the first studio artist, before even the word “Art Quilt” was made popular.</span></div><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: Courier; font-size: 12pt;"> Sue is an innovator in her field, creating original dyed and painted fabrics, which she combines with recycled textiles to form fields of structured pattern, vivid beauty, and riotous variation. There is always an underlying structure in her work, a set of rules. She thinks of each piece as a small world where she can declare the laws of nature.</span></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"><br />
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</style> <span lang="EN-CA" style="font-family: Arial; font-size: 12pt;">Walking Through Time I</span> </td></tr>
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</div><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: Courier; font-size: 12pt;"> Her love affair with fabric began with her first memories of the clothes her mother made her, recalling exact hue, fibre content, and weave. In the following years, her mother taught her to sew, carefully and creatively. Her father always had a pencil in his hand or behind his ear, drawing on napkins in restaurants and painting on the weekends. He inspired and encouraged her in art. Her education in molecular biology and medical illustration still figures in her work with an underlying sense structure and organizing principles.</span></div><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: Courier; font-size: 12pt;"> She sees a direct connection with the concept of quilt and the assembly of units to make a larger whole. She works on 5-10 quilts at a time, often in two different series. This way of working suits the nature of her mind. Series and ideas overlap, playing off of one another. She uses her visual vocabulary to weave her work together, creating patterns and layers of meaning. She revels in the simple act of placing one fabric next to another.</span></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"><br />
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</style><span style="color: black; font-family: Arial; font-size: 12pt;"><span style="color: white; font-family: Arial,Helvetica,sans-serif;">Nests</span><span style="color: white;"> with Blue </span> </span><span lang="EN-CA" style="font-family: Arial; font-size: 12pt;">Walking Through Time II Red Leaves</span></td><td class="tr-caption" style="text-align: center;"><span lang="EN-CA" style="font-family: Arial; font-size: 12pt;"> </span> </td></tr>
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</div><div class="text-linespaced" style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt;"><span style="font-family: Courier;"> </span><span style="font-family: Courier; font-size: 12pt;">Sue Benner is best known locally for her hand-painted bandanas, shirts, T-shirts and quilts with geometric or Texana imagery. In the last few years, however, this talented Dallas artist has garnered a growing, national reputation for creating giant, site-specific, three-dimensional color fabric constructions for large architectural spaces. </span></div><div class="text-linespaced" style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt;"><span style="font-family: Courier; font-size: 12pt;"> Benner carefully extrapolates the ambient colors, textures and shapes of an existing decor into lush, liquid flowing waterfalls of eye-catching color. Up close, her Spills, Falls and Currents reveal lush complexities of assembled soft forms and multi-layered abstract color paint and drawings.</span></div><div class="text-linespaced" style="margin: 0.1pt 0in;"><br />
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</style> <span lang="EN-CA" style="font-family: Arial; font-size: 12pt;">Studio History</span> </td></tr>
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</div><div class="text-linespaced" style="margin: 0.1pt 0in;"><span style="font-family: Courier; font-size: 12pt;"> </span></div><div class="text-linespaced" style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt;"><span style="font-family: Courier; font-size: 12pt;"> Although she variously combines dye, batik, stitching, quilting, appliqué, draping and other forms, the watchword for Benner's work is "paint." Her installations and constructions are paintings on fabric. They are never submerged in a vat of dye. Always they involve direct paint techniques. Indeed, it is this action painting on selected fabrics-and the fact that she is essentially self-taught-that makes her art unique.</span></div><div class="text-linespaced" style="margin: 0.1pt 0in;"><br />
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</div><div class="text-linespaced" style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt;"><span style="font-family: Courier; font-size: 12pt;"> The major breakthrough in her style came during a traumatic time after a breakup. "I was pouring my heart on this white piece of fabric" while "making use of the quality of the dyes," she said. The hue-saturated designs became Xed-out hearts. But it wasn't just serendipity. Benner was learning to use "the essential qualities of the dyes and the way they interact"-to make dye do what it does best. Already she knew, she needn't stay within the little wax lines. She discovered "I could just slop that stuff in very much the same way 20th Century American artists have been slopping paint on canvas."</span></div><div class="text-linespaced" style="margin: 0.1pt 0in;"><br />
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<div class="MsoNormal"><span lang="EN-CA" style="font-size: 12pt;"><span style="font-family: Arial,Helvetica,sans-serif;">Cellular Structure I</span> <span style="font-family: Arial,Helvetica,sans-serif;">Cellular Structure II</span></span></div></td></tr>
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<div class="text-linespaced" style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt;"><span style="font-family: Courier; font-size: 12pt;"> The Xs are gone, but hearts have become an important element of her design repertory through her six-year professional career. This is odd because the Valentine hearts are anatomically incorrect. Benner's own art history began during the last year of a B.S. in Molecular Biology at the University of Wisconsin -eighty miles from her home in Oshkosh and continued through a short but colorful career in medical illustration. </span></div><div class="text-linespaced" style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt;"><span style="font-family: Courier; font-size: 12pt;"> The summer before Sue graduated, a friend taught her to batik. She'd worked with fabric since she was five and loved working with her hands to make pretty things. But it was an elective course in Fabric Design that tied it all together. She barely got into the class but took to fabric art immediately.</span></div><div class="text-linespaced" style="margin: 0.1pt 0in;"><br />
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</style> <span lang="EN-CA" style="font-family: Arial; font-size: 12pt;">Nest I Dark Center </span> </td></tr>
</tbody></table><div class="text-linespaced" style="margin: 0.1pt 0in;"><br />
</div><div class="text-linespaced" style="margin: 0.1pt 0in;"><br />
</div><div class="text-linespaced" style="margin: 0.1pt 0in;"><br />
</div><div class="text-linespaced" style="margin: 0.1pt 0in;"><br />
</div><div class="text-linespaced" style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt;"><span style="font-family: Courier;"> </span><span style="font-family: Courier; font-size: 12pt;">Gradually, Benner combined her sewing and quilting with batik. Then she added biology, and that unusual mix led to her honors thesis, Experiments in Illustrating the Human Reproductive System. She created 20 vivid organic forms on batiked and quilted fabric, watercolors and drawings.</span></div><div class="text-linespaced" style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt;"><span style="font-family: Courier; font-size: 12pt;"> After that very successful thesis, Sue added summer studio classes, then two more semesters of art to meet requirements for Medical Illustration School at the University of Texas Health Science Center in Dallas, where she's lived ever since.</span></div><div class="text-linespaced" style="margin: 0.1pt 0in;"><br />
</div><div class="text-linespaced" style="margin: 0.1pt 0in;"><br />
</div><div class="text-linespaced" style="margin: 0.1pt 0in;"><br />
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</div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-I72mKlQ0WtI/T1zobrupDfI/AAAAAAAAE6c/qAAnSK8JsJs/s1600/SB+8.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="454" src="http://4.bp.blogspot.com/-I72mKlQ0WtI/T1zobrupDfI/AAAAAAAAE6c/qAAnSK8JsJs/s640/SB+8.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><style>
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</style> <span lang="EN-CA" style="font-family: Arial; font-size: 12pt;">Sink or Swim #23, #24</span> </td></tr>
</tbody></table><div class="text-linespaced" style="margin: 0.1pt 0in;"><br />
</div><div class="text-linespaced" style="margin: 0.1pt 0in;"><br />
</div><div class="text-linespaced" style="margin: 0.1pt 0in;"><br />
</div><div class="text-linespaced" style="margin: 0.1pt 0in;"><br />
</div><div class="text-linespaced" style="margin: 0.1pt 0in;"><br />
</div><div class="text-linespaced" style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt;"><span style="font-family: Courier; font-size: 12pt;"> Although her Biomedical Scientific Technical Illustrations were superb, her medical art career was short-circuited two years later when someone saw The Life Story of Seminiferous Tubules, silk quilts for her Masters Thesis. If she could illustrate complex biology in such controlled detail, they reasoned, she could easily do fabrics for clothing. Soon, Benner was working with another Dallas designer, and when the fad for hand-painted fabric started, she was already in the thick of it. In spring 1981, she convinced Richard Brooks Fabrics to sponsor a show of her scarves, paintings and quilts on his silk crepe de chine, silk broadcloth and other fine fabrics.</span></div><div class="text-linespaced" style="margin: 0.1pt 0in;"><br />
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</div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-g2CzHYh1EQs/T1zoj_fxdjI/AAAAAAAAE6k/REtNe9wVg8g/s1600/SB+9.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="348" src="http://1.bp.blogspot.com/-g2CzHYh1EQs/T1zoj_fxdjI/AAAAAAAAE6k/REtNe9wVg8g/s640/SB+9.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><style>
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</style><span lang="EN-CA" style="font-family: Arial; font-size: 12pt;">Cellular Structure III Nine Times
Nine</span>
<span lang="EN-CA" style="font-family: Arial; font-size: 12pt;"> </span>
<span lang="EN-CA" style="font-family: Arial; font-size: 12pt;"> </span>
<span lang="EN-CA" style="font-family: Arial; font-size: 12pt;"> </span>
<span lang="EN-CA" style="font-family: Arial; font-size: 12pt;"></span>
<span lang="EN-CA" style="font-family: Arial; font-size: 12pt;"> </span>
<span lang="EN-CA" style="font-family: Arial; font-size: 12pt;"> </span>
<span lang="EN-CA" style="font-family: Arial; font-size: 12pt;"> </span>
<span lang="EN-CA" style="font-family: Arial; font-size: 12pt;"> </span>
<span lang="EN-CA" style="font-family: Arial; font-size: 12pt;"> </span>
<span lang="EN-CA" style="font-family: Arial; font-size: 12pt;"> </span>
<span lang="EN-CA" style="font-family: Arial; font-size: 12pt;"></span>
<span lang="EN-CA" style="font-family: Arial; font-size: 12pt;"> </span>
<span lang="EN-CA" style="font-family: Arial; font-size: 12pt;"> </span>
</td></tr>
</tbody></table><div class="text-linespaced" style="margin: 0.1pt 0in;"></div><div class="text-linespaced" style="margin: 0.1pt 0in;"></div><div class="text-linespaced" style="margin: 0.1pt 0in;"></div><div class="text-linespaced" style="margin: 0.1pt 0in;"></div><div class="text-linespaced" style="margin: 0.1pt 0in;"></div><div class="text-linespaced" style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt;"><span style="font-family: Courier; font-size: 12pt;"></span>
<span style="font-family: Courier; font-size: 12pt;"> </span>
<span style="font-family: Courier; font-size: 12pt;"> </span>
<span style="font-family: Courier; font-size: 12pt;"> The show sold well, but
more importantly, Dallas art rep Michael Thomas saw her paintings and told her
she could make a lot more selling them as art. After that, things started
clicking for Benner's art career, and she put her thesis on hold for four
years.</span></div><div class="text-linespaced" style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt;"><span style="font-family: Courier; font-size: 12pt;"> She got her first major
installation job by lucky accident. A decorator firm where a friend worked had
forgotten a hotel atrium, and they were desperate for a major installation.
They needed a young, energetic no-name artist they could get away with paying
what, for Benner, was a dream price. But it had to be completed in two months.
Sue had five hours to conceive it and make a presentation. In that flurry of
design and color, she had the idea for the drawstring-like balloon drapes that
gave it and others since a rippling three-dimensionality. Benner was confident
she could make the giant piece; she just didn't know how. But she poured
herself into the task, and the assembled 70' x 10' cascade of reds and greens,
Silk Falls, at Atlanta's Ramada Renaissance Hotel established her installations
career.</span>
<span style="font-family: Courier; font-size: 12pt;"> </span>
<span style="font-family: Courier; font-size: 12pt;"> </span>
<span style="font-family: Courier; font-size: 12pt;"> </span>
<span style="font-family: Courier; font-size: 12pt;"> </span>
<span style="font-family: Courier; font-size: 12pt;"> </span>
<span style="font-family: Courier; font-size: 12pt;"> </span>
<span style="font-family: Courier; font-size: 12pt;"> </span>
<span style="font-family: Courier; font-size: 12pt;"> </span>
<span style="font-family: Courier; font-size: 12pt;"> </span>
<span style="font-family: Courier; font-size: 12pt;"> </span>
</div><div class="text-linespaced" style="margin: 0.1pt 0in;"></div><div class="text-linespaced" style="margin: 0.1pt 0in;"></div><div class="text-linespaced" style="margin: 0.1pt 0in;"></div><div class="text-linespaced" style="margin: 0.1pt 0in;"></div><div class="text-linespaced" style="margin: 0.1pt 0in;"></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-Z2Yyu8oSqMI/T1zmxA5jsaI/AAAAAAAAE40/QioIEfjmulw/s1600/SB+10.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="376" src="http://1.bp.blogspot.com/-Z2Yyu8oSqMI/T1zmxA5jsaI/AAAAAAAAE40/QioIEfjmulw/s640/SB+10.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><style>
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</style> <span lang="EN-CA" style="font-family: Arial; font-size: 12pt;">Display II</span><br />
<br />
<br />
<br />
<span lang="EN-CA" style="font-family: Arial; font-size: 12pt;"> </span> </td></tr>
</tbody></table><div class="text-linespaced" style="margin: 0.1pt 0in;"></div><div class="text-linespaced" style="margin: 0.1pt 0in;"></div><div class="text-linespaced" style="margin: 0.1pt 0in;"></div><div class="text-linespaced" style="margin: 0.1pt 0in;"><span style="font-family: Courier; font-size: 12pt;"> </span>
<span style="font-family: Courier; font-size: 12pt;"> </span>
<span style="font-family: Courier; font-size: 12pt;"></span>
</div><div class="text-linespaced" style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt;"><span style="font-family: Courier; font-size: 12pt;"> Major commissions-like
her recent Silk Spills at the Texas American Bank in Fort Worth, now take six
months to a year. They must be previsualized and color-coordinated; pictures
need to be drawn, models made, and the whole project presented, budgeted and
each step approved. "I'm very good about thinking what I want the end
product to look like and then figuring out the steps to achieve that," she
explained.</span></div><div class="text-linespaced" style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt;"><span style="font-family: Courier; font-size: 12pt;"> Between the big
jobs, she experiments with littler ones. Among her inventory are vibrant
paintings on silk, richly patterned art quilts, subtly stitched collages,
draped and gathered fabric constructions and fashion items like bandannas,
scarves, T- and Hawaiian shirts, and yardage for clothing and upholstery to be
constructed by friends.</span>
<span style="font-family: Courier; font-size: 12pt;"> </span>
<span style="font-family: Courier; font-size: 12pt;"></span>
<span style="font-family: Courier; font-size: 12pt;"> </span>
<span style="font-family: Courier; font-size: 12pt;"> </span>
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<span style="font-family: Courier; font-size: 12pt;"> </span>
<span style="font-family: Courier; font-size: 12pt;"> </span>
<span style="font-family: Courier; font-size: 12pt;"> </span>
</div><div class="text-linespaced" style="margin: 0.1pt 0in;"></div><div class="text-linespaced" style="margin: 0.1pt 0in;"></div><div class="text-linespaced" style="margin: 0.1pt 0in;"></div><div class="text-linespaced" style="margin: 0.1pt 0in;"></div><div class="text-linespaced" style="margin: 0.1pt 0in;"></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-ZWUzag_NKdo/T1zm9dT9XCI/AAAAAAAAE48/J0LYCCv23QE/s1600/SB+11.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="286" src="http://3.bp.blogspot.com/-ZWUzag_NKdo/T1zm9dT9XCI/AAAAAAAAE48/J0LYCCv23QE/s640/SB+11.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><style>
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<div class="MsoNormal"><span lang="EN-CA" style="font-size: 12pt;"><span style="font-family: Arial,Helvetica,sans-serif;">Nest III</span> <span style="font-family: Arial,Helvetica,sans-serif;">Nest IV</span></span><br />
<br />
<br />
<br />
<br />
</div></td></tr>
</tbody></table><div class="text-linespaced" style="margin: 0.1pt 0in;"></div><div class="text-linespaced" style="margin: 0.1pt 0in;"></div><div class="text-linespaced" style="margin: 0.1pt 0in;"></div><div class="text-linespaced" style="margin: 0.1pt 0in;"></div><div class="text-linespaced" style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt;"><span style="font-family: Courier; font-size: 12pt;"> "My work may
not seem normal to anybody else, but when you do it every day, you have to get
outside of that."</span></div><div class="text-linespaced" style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt;"><span style="font-family: Courier; font-size: 12pt;"> The smaller paintings'
quick turnaround from concept to product lets her work an idea, color, shape or
texture many different ways. Or "I may just sit down with absolutely no
thought in my mind and start painting, and let one thought or action dictate
the next choice." The results are "not so precious people are afraid
to wear, wash, abuse and make them part of their life. Lately, however, more
and more of her works are bought, framed and hung as art. These fabric
paintings are still her cheapest item, but they've grown much more complex.</span>
<span style="font-family: Courier; font-size: 12pt;"> </span>
<span style="font-family: Courier; font-size: 12pt;"> </span>
<span style="font-family: Courier; font-size: 12pt;"> </span>
<span style="font-family: Courier; font-size: 12pt;"> </span>
<span style="font-family: Courier; font-size: 12pt;"> </span>
</div><div class="text-linespaced" style="margin: 0.1pt 0in;"></div><div class="text-linespaced" style="margin: 0.1pt 0in;"></div><div class="text-linespaced" style="margin: 0.1pt 0in;"></div><div class="text-linespaced" style="margin: 0.1pt 0in;"></div><div class="text-linespaced" style="margin: 0.1pt 0in;"></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<div class="MsoNormal"><span style="font-family: Arial,Helvetica,sans-serif;">Prairie Wall</span></div><div class="MsoNormal"><br />
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</tbody></table><div class="text-linespaced" style="margin: 0.1pt 0in;"></div><div class="text-linespaced" style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt;"><span style="font-family: Courier; font-size: 12pt;"> She paints her giant
commissions on the floor of her Deep Elm studio, on rolls of white paper that
both soak dye and document color and design. Sometimes she brushes. Often, she
uses squeeze tubes, catsup and spray bottles and sponges to pattern layers of
dye drawings and painting. </span></div><div class="text-linespaced" style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt;"><span style="font-family: Courier; font-size: 12pt;"> "The way I paint,
I need a surface that is hard. I'm interacting with that surface I'm working on
that surface, spraying on it, then coming back in to rub it into the fabric.
The dyes soak in and bind into the fiber, and it becomes a part of the
fabric." Unlike acrylic paint, which stays where you put it, Benner wants
her "paint" to pool and mix-but only rarely drip. She prefers silk
taffeta and jacquard, cotton sateen and pima cotton broadcloth for their smooth
surfaces. To set the dyes, "I steam bake them in the oven at home. I don't
have to worry if I drip dye because it becomes a part of the picture."</span>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-5C98ETuaNBs/T11PyCxHEnI/AAAAAAAAE6w/LZfgXW0V6Wo/s1600/SB+13.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="342" src="http://2.bp.blogspot.com/-5C98ETuaNBs/T11PyCxHEnI/AAAAAAAAE6w/LZfgXW0V6Wo/s640/SB+13.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span lang="EN-CA" style="font-family: Arial; font-size: 12pt;">Walking Through Time XII Body Parts Dance </span><br />
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</td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td></tr>
</tbody></table><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="text-linespaced" style="margin: 0.1pt 0in;"></div><div class="text-linespaced" style="margin: 0.1pt 0in;"></div><div class="text-linespaced" style="margin: 0.1pt 0in;"></div><div class="text-linespaced" style="margin: 0.1pt 0in;"></div><div class="text-linespaced" style="margin: 0.1pt 0in;"></div><div class="text-linespaced" style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt;"><span style="font-family: Courier; font-size: 12pt;"> It's not all happy
accidents though. Each installation must fit the specific color, space,
texture, decor and acoustic givens of the site. Someone with a fine arts
background might balk at this precision of parameters. But after her experience
with medical illustrations, which had to be absolutely accurate and lucid in
black and white with maybe one color, Benner has found it easy and fascinating.
"I love color; that's obvious in my work," she said. "Working
with color is infinitely interesting because there are so many
possibilities."</span>
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</style> <span lang="EN-CA" style="font-family: Arial; font-size: 12pt;">Nest V</span><br />
<br />
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<span lang="EN-CA" style="font-family: Arial; font-size: 12pt;"> </span> </td></tr>
</tbody></table><div class="text-linespaced" style="margin: 0.1pt 0in;"></div><div class="text-linespaced" style="margin: 0.1pt 0in;"></div><div class="text-linespaced" style="margin: 0.1pt 0in;"></div><div class="text-linespaced" style="margin: 0.1pt 0in;"></div><div class="text-linespaced" style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt;"><span style="font-family: Courier; font-size: 12pt;"> "I love fabric,
the touch, the feel," she said. "It's a great passion of mine."
But she recognizes its limitations. It ages, gets dirty; insects infest it.
And, unless protected, it eventually disintegrates. If it is protected,
however, it loses "its essential, supple quality."</span></div><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: Courier;"> </span><span style="font-family: Courier; font-size: 12pt;">Sue’s artwork appears in many
private, corporate, and institutional collections. She also lectures and
teaches workshops nationally and internationally in the fields of surface
design, textile collage, fused quilt construction, and artistic inspiration.</span></div><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;"><span style="font-family: Courier; font-size: 12pt;"> Her work has been
juried into Visions, Quilt Nihon and in Quilt National seven times, where she
served as a juror in 2009. Living in Dallas, Texas with her husband, Craig
Jett, and their two sons, Sue works in her studio built in the backyard of
their family home. However, a part of her heart resides still in her
home state of Wisconsin.</span>
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</style> <span lang="EN-CA" style="font-family: Arial; font-size: 12pt;">Nest VIII Nest VII</span><br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-rouNE8JtdHs/T1znn2ps8jI/AAAAAAAAE5k/if55_6n-PcU/s1600/SB+16.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://2.bp.blogspot.com/-rouNE8JtdHs/T1znn2ps8jI/AAAAAAAAE5k/if55_6n-PcU/s400/SB+16.jpg" width="292" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Sue Benner</span><br />
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</div><div class="MsoNormal" style="text-indent: .5in;"><span lang="EN-US" style="font-family: Courier;">I made my transition from Fashion into Theater in 1998 when I first moved to Toronto. At first it was supposed to be only a two-week stint. Well, twelve years later I am still here. I found costumes to be so much more interesting and exciting than contemporary fashion. Considering also my love of history – having the chance to work on all the different period costumes, researching and learning all the timelines and cultures was also an unexpected bonus. Quite often the show I was working on, a particular costume, piece of material or new technique we were using was the inspiration I needed for my next artwork. There are so many left over scraps from all the shows I’ve worked on in all of my collages.</span></div><div class="MsoNormal" style="text-indent: 0.5in;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-MDmKFL_sT_U/T0LtHkrlusI/AAAAAAAAE3k/n1ztuTjhCK8/s1600/Q+2+Rebecca+Fowler.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://4.bp.blogspot.com/-MDmKFL_sT_U/T0LtHkrlusI/AAAAAAAAE3k/n1ztuTjhCK8/s640/Q+2+Rebecca+Fowler.jpg" width="508" /></a></div><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-WZtiNCyEaZ8/T0LtMT5bbdI/AAAAAAAAE30/MBaYwD_h1PM/s1600/Q+4+Kelly+Sulivan%25271999.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://3.bp.blogspot.com/-WZtiNCyEaZ8/T0LtMT5bbdI/AAAAAAAAE30/MBaYwD_h1PM/s640/Q+4+Kelly+Sulivan%25271999.jpg" width="432" /></a></div><div class="MsoNormal" style="text-indent: 0.5in;"><br />
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</div><div class="MsoNormal" style="text-indent: .5in;"><span lang="EN-US" style="font-family: Courier;">Another influence I found in this line of work was all the incredibly talented people I’ve met here. Communicating with them on a daily basis and observing the development and completion of their own projects has often provided the inspiration I needed to get me back to my studio and begin a new piece, or the idea I was looking for in order to complete an old, left aside, “don’t know what to do with” project.</span></div><div class="MsoNormal" style="text-indent: 0.5in;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-G6Yhs2J3VXQ/T0Lt07khWnI/AAAAAAAAE4U/KulgeKCp2I4/s1600/Q+8+Laura+Coats.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://2.bp.blogspot.com/-G6Yhs2J3VXQ/T0Lt07khWnI/AAAAAAAAE4U/KulgeKCp2I4/s640/Q+8+Laura+Coats.jpg" width="514" /></a></div><div class="MsoNormal" style="text-indent: 0.5in;"><br />
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</div><div class="MsoNormal" style="text-indent: .5in;"><span lang="EN-US" style="font-family: Courier;">Besides working together, we all like to get together from time to time and create something different, but equally as beautiful as the costumes we make on a daily basis. We embrace opportunities to play with all the different and exciting mediums and exercise our designer’s chops. That’s how our tradition of making baby quilts was born.</span></div><div class="MsoNormal" style="text-indent: .5in;"><span lang="EN-US" style="font-family: Courier;">Who wouldn’t embrace the idea of a beautiful hand made present, where all those long learned and well practiced skills can be applied, versus the standard, store bought item labeled “made in China”? Definitely not any of us. So, every time one of our own gives us the good news that there is a baby on the way, a small committee is pulled together and the work begins.</span></div><div class="MsoNormal" style="text-indent: 0.5in;"><br />
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</div><div class="MsoNormal" style="text-indent: .5in;"><span lang="EN-US" style="font-family: Courier;">The committee usually includes people from the team the girl is working on, or her closest friends. They pick the theme, size and the color scheme, then prepare the pattern or size chart and distribute the pieces among everybody who wants to contribute. Depending on the style and the size of the quilt there have been between 10 and 40 people involved in making each one.</span></div><div class="MsoNormal" style="text-indent: .5in;"><span lang="EN-US" style="font-family: Courier;">Once the pieces are distributed, every participant is free to create their own design and choose the techniques they like best for it. It is time for fierce, but very friendly competition. Everyone rises to the challenge and tries to come up with the most fascinating and unique ideas, resulting in some really striking quilts after all.</span></div><div class="MsoNormal" style="text-indent: 0.5in;"><br />
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</div><div class="MsoNormal" style="text-indent: .5in;"><span lang="EN-US" style="font-family: Courier;">When all the single pieces are done a couple of people usually volunteer to put the whole quilt together, while someone else prepare a small accompanying booklet, containing the initial sketch, pictures and a list with the names of everyone involved.</span></div><div class="MsoNormal" style="text-indent: .5in;"><span lang="EN-US" style="font-family: Courier;">I can’t even describe the overwhelming joy and excitement that is easy to read on the faces of the expectant mothers when they are presented with such a special and amazing keepsake, usually at a baby shower, thrown in their honor. </span></div><div class="MsoNormal" style="text-indent: 0.5in;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-vifRCbLaPZ8/T0Ls_ZsNICI/AAAAAAAAE3U/GQycVcKsid4/s1600/Q+12+Lois%25272001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://4.bp.blogspot.com/-vifRCbLaPZ8/T0Ls_ZsNICI/AAAAAAAAE3U/GQycVcKsid4/s640/Q+12+Lois%25272001.jpg" width="626" /></a></div><div class="MsoNormal" style="text-indent: 0.5in;"><br />
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</div><div class="MsoNormal" style="text-indent: 0.5in;"><span lang="EN-US" style="font-family: Courier;"> </span></div><div class="MsoNormal" style="text-indent: .5in;"><span lang="EN-US" style="font-family: Courier;">There was unfortunately one occasion when the idea of the quilt wasn’t born with a happy announcement. One of our friends was diagnosed with cancer and embarked on the grueling spiral of surgeries, treatments, diets and therapies, which usually completely takes over the patient’s life. It was hard for us to watch how this wonderful, vibrant woman, who was the heart and soul of every party, our Robyn, who was everyone’s favorite best friend, being eaten from within by this cruel disease. Unfortunately, we were incapable to help her much, except maybe lessen her financial burden, which is usually never talked about when a disease like this strikes, but is always one of the greatest side effects for a person of modest means. Besides all the donations and fund-raising drives, we decided to contribute with the thing we do best – with our skills. We organized a raffle in which the grand prize was to be one of our quilts. I was granted the honor of designing and organizing the whole project. </span></div><div class="MsoNormal" style="text-indent: .5in;"><span lang="EN-US" style="font-family: Courier;">The word spread fast and we got 39 people wishing to participate from all the costume shops in Toronto, Stratford and Shaw Theater Festivals, even couple of former colleagues from Vancouver. After the quilt was completed, everyone got involved in the sales of the lottery tickets to friends, family members, co-workers and everyone they could reach. It was breathtaking to witness the immense energy, devotion and enthusiasm everybody invested in the realization of the whole endeavor.</span></div><div class="MsoNormal" style="text-indent: .5in;"><span lang="EN-US" style="font-family: Courier;">At the end we managed to collect for over $8 000 which were donated to Robyn and her family to help them in those difficult times. Unfortunately, a few months later we lost her, but we still keep her in our hearts. The winner of the raffle was immensely happy to receive this precious quilt – proof that talent and devotion to your craft can go quite a long way to touch so many people in so many different ways.</span></div><div class="MsoNormal" style="text-indent: 0.5in;"><br />
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</div><div class="MsoNormal" style="text-indent: .5in;"><span lang="EN-US" style="font-family: Courier;">I dedicate this post to my dear friend Robyn Kelly 1953 – 2003.</span></div><div class="MsoNormal" style="text-indent: 0.5in;"><br />
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</div>Milenahttp://www.blogger.com/profile/10504087805276241834noreply@blogger.com0tag:blogger.com,1999:blog-3189775507035108575.post-60312278976470199142012-02-05T16:47:00.000-05:002012-02-05T17:07:43.535-05:00Rosalie Dace<style>
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</style> <span style="font-size: small;"><span lang="EN-CA" style="font-family: Courier;">Are we There Yet?</span></span> </td></tr>
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</div><div class="MsoNormal"><span style="font-family: Courier; font-size: 12pt;"> South African quilter Rosalie Dace is a studio artist who has been working in the fibre art, quilt and embroidery world since the '70's. With a background in art and education, she finds exhibiting, teaching, and judging combine her interests admirably. Her work, which reflects her passion for colour, design and texture, is characterized by its wild mix of fabrics. She has had a lifelong interest in textiles and embroidery and has a degree in Art and English. While she values the traditions from which quilt making has come, she believes that a quilt should say something about its time and place in history. This and her awareness of being a South African artist give her work its particular character.</span></div><div class="MsoNormal"><br />
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</style> <span lang="EN-CA" style="font-family: Courier; font-size: 14pt;"><span style="font-size: small;">Almost Forgotten, Never Told Baghdad</span> </span> </td></tr>
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</div><div class="MsoNormal"><span style="font-family: Courier; font-size: 12pt;"> Rosalie has been described as a cultural anthropologist whose work defines the collective human experience. Her work is emotional and highly subjective, reflecting feelings of place and referring to memories and personal experiences, telling stories with which we can all identify. One quilt, a homage to her deceased father, a gardener, evokes the colours and shapes of his favourite environment, another of a local market. Another yet, recalling her excitement in returning home to South Africa, depicts an aerial view of the ocean over which she flew. She uses a variety of fabrics upon which to work, such as silk, African cloth and burlap. At times she decorates her quilts with beads, buttons, string, safety pins and other embellishments traditional to South African clothing and textiles.</span></div><div class="MsoNormal"><br />
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</style> <span style="font-size: small;"><span lang="EN-CA" style="font-family: Courier;">Night Flight</span></span> </td></tr>
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</div><div class="MsoNormal"><span style="font-family: Courier; font-size: 12pt;"> Her work has been widely exhibited, and she has won several awards including Best of Show at the South African National Quilt Festival in 1988 and 1998, her quilts are to be found in private collections and in the Durban Art Gallery, and has appeared in national and international publications.</span></div><div class="MsoNormal"><br />
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<span style="font-family: Courier; font-size: 12pt;"> Apart from her native South Africa, she has taught and exhibited internationally in Australia, New Zealand, Germany, Canada and the US, and was nominated for the Professional Quilter magazine’s “Teacher of the Year” Award in 2007. Apart from her normal art and teaching commitments she has been involved in programs aimed at training Zulu women embroidery skills for the Durban Manufacturing Advisory Centre and for a trust operating in rural KwaZulu-Natal. She is also involved in teaching patchwork and quilting to a group at an old age home in Durban.</span> <span style="font-family: Courier; font-size: 12pt;"> </span> <span style="font-family: Courier; font-size: 12pt;"> </span> <span style="font-family: Courier; font-size: 12pt;"> </span> <span style="font-family: Courier; font-size: 12pt;"> </span> </div><div class="MsoNormal"></div><div class="MsoNormal"></div><div class="MsoNormal"></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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</tbody></table><div class="MsoNormal"></div><div class="MsoNormal"></div><div class="MsoNormal"></div><div class="MsoNormal"><span style="font-family: Courier; font-size: 12pt;"> Dace lives in Durban, South Africa but she also spends time each year working in the United States and is a much sought after teacher and speaker. She has been included in exhibitions in the US, Europe, New Zealand and Africa including the Houston International Quilt Festival; the Fresno Art Museum in Fresno, California; Galerie im Stadhaus in Bad Homburg, Germany; Shipley Art Gallery in Gateshead, United Kingdom; and the Jabulisa Exhibition, which toured South Africa from 2001 to 2003. She also co-developed the South African Quilters' Guild training program for judges and has judged art quilts all over the world.</span> <span style="font-family: Courier; font-size: 12pt;"> </span> <span style="font-family: Courier; font-size: 12pt;"> </span> <span style="font-family: Courier; font-size: 12pt;"> </span> <span style="font-family: Courier; font-size: 12pt;"> </span> <span style="font-family: Courier; font-size: 12pt;"> </span> </div><div class="MsoNormal"></div><div class="MsoNormal"></div><div class="MsoNormal"></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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</tbody></table><div class="MsoNormal"></div><div class="MsoNormal"></div><div class="MsoNormal"></div><div class="MsoNormal"></div><div class="MsoNormal"></div>Milenahttp://www.blogger.com/profile/10504087805276241834noreply@blogger.com3tag:blogger.com,1999:blog-3189775507035108575.post-90259761154797351622012-01-15T18:20:00.000-05:002012-01-15T18:20:19.055-05:00David Galchutt<style>
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<div class="MsoNormal"><span lang="EN-US" style="font-family: Courier;"><span style="mso-tab-count: 1;"> </span>A native southern Californian, David Galchutt graduated from Art Center College of Design in 1981 and has been working steadily as an illustrator for 30+ years. Although he had done some advertising illustration in his early years, the primary focus of his illustrating career has been in the children's industry, working for both toy companies and publishing. In 1993 a children's book that he wrote and illustrated; “There Was Magic Inside”, was published by Simon and Schuster. Now working as a designer in the giftware industry, he continues to freelance for children's publications, primarily Highlights for Children. This relationship is especially rewarding as he had a subscription to that magazine as a child.</span></div><div class="MsoNormal"><br />
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</div><div class="MsoNormal"><span lang="EN-US" style="font-family: Courier;"><span style="mso-tab-count: 1;"> </span>David's love of designing and painting came at an early age. He can cite the moment when he decided to become an artist to a day in kindergarten. He grew up in an artistic environment, his parents having met at Chouinard Art Institute in the 1950's. His father worked as a graphic designer and his mother studied costume design. These disciplines influenced him greatly. He has a strong design sense and he loves integrating costume into his illustrations. He attempts to incorporate design and costume into his artwork as well when the assignment allows.</span></div><div class="MsoNormal"><br />
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</div><div class="MsoNormal"><span lang="EN-US" style="font-family: Courier;"><span style="mso-tab-count: 1;"> </span>He was awarded the 2010 award for best children's magazine illustration of the year (ages 9-11) from the Association of Educational Publishers. The illustration 'When Cats Dance' appeared in Highlights Magazine for Children.</span></div><div class="MsoNormal"><span lang="EN-US" style="font-family: Courier;"><span style="mso-tab-count: 1;"> </span>He also has extensive experience illustrating for the toy market. For many years he has been a stylist for the Barbie Doll. Toy clients include: Mattel, Playmates and Galoob. He currently lives in southern California and his spare time is still spent painting, a passion that never seems to burn out.</span></div><div class="MsoNormal"><br />
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</div>Milenahttp://www.blogger.com/profile/10504087805276241834noreply@blogger.com1tag:blogger.com,1999:blog-3189775507035108575.post-65842920882559594852011-12-29T13:22:00.000-05:002013-02-09T21:21:12.810-05:00Wen Redmond<div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;"> <span style="font-size: small;"><span lang="EN-CA" style="font-family: "Courier New",Courier,monospace;">Trees Seen Forest Remembered</span></span></td></tr>
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<span lang="EN-US" style="font-family: Courier;"> “Making art always puts me into a certain space, a meditation. I call this ‘being in the flow’. It allows thoughts and feelings to bubble up from the unconscious. I can put that energy into my art. Later, viewing the piece, I can revisit that feeling. It’s like reading a poem, or hearing a familiar story. It brings you back. It gives pleasure. That’s my hope for anyone viewing my pieces”....</span></div>
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<span lang="EN-US" style="font-family: Courier;"> Wen Redmond</span></div>
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<span lang="EN-US" style="font-family: Courier;"> New England resident Wen Redmond is a mixed media fiber artist who enjoys pushing boundaries to see "what if?". Redmond has worked in the fiber field since 1973, when she made her first intuitive textile construction. She graduated from Mansfield State, PA in 1972. Wen Redmond is a member of the League of New Hampshire Craftsmen since 1993. She is also a member of Professional Studio Art Quilt Association and their NH rep, Surface Design Association, Professional Fine Art Network, Women’s Caucus of Art, New Hampshire Art Association and Seacoast Fiber Artist Association. Her work can be seen nationwide, in galleries, juried, solo, and invitational shows as well as in numerous publications.</span></div>
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<span lang="EN-US" style="font-family: Courier;"> Through the years Redmond built a steady reputation as an inovative textile artist. Stretching beyond that description, she’s making a mark with a new mix of medium, and a distinct look, using fabric, photos on cloth, stitching and found objects to create moody evocative works. Her multi-layered collages are assemblages of archival digital prints, combining painting and digital media into a one of a kind art piece. Multi-layered surface design creates Holographic Images. The work is layered with a duplicate photograph underneath so the viewer sees a 3-D effect. This is an innovative photography design technique that needs to be seen to be appreciated. Her fascination with photography is finding expression by printing directly onto various substrates, creating stitched textural constructions. Wen calls this work Digital Fiber. All the fabrics she uses, are created by her. She creates the entire structure of her one of a kind art pieces. Each work is unique and created individually.</span></div>
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<span lang="EN-US" style="font-family: Courier;"> Wen Redmond's creative warren is an inspiration in itself. Along a bank of windows that overlook the rocky falls, a cluster of crystals line one windowsill, sea shells another. To make her dreamy scenes, Redmond drapes transparent fabric over photos of rocks and trees. "Making art is all about inner reality," she said. "You put into it what you have inside.</span></div>
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<span lang="EN-US" style="font-family: Courier;"> Wen’s work is innovative and fresh, not in any one niche. Her work overlaps media and surface design. She designs one of a kind art pieces, developing transparent effects and layers begging closer inspection. Wen delights in creating dialogue, changing your perspectives and perceptions of fiber. </span></div>
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<span lang="EN-US" style="font-family: Courier;"> She is passionate about coming up with ideas and working out the kinks. This leads to more discoveries, an evolution. The artist in her can see the most exquisite scenes or combinations of patterns and wants to share that beauty. Her art represents these moments. They are what lie beneath. She brings them back to share, to remind, to remember. These moments become her source, her well. Wen Redmond hopes to bring that energy into her art making, to communicate the positive. Layers peeled back reveal the source, the inspiration, and her mad desire to capture thoughts, dreams and the beauty of nature. Each work is individual and a communication between Wen’s inner imagination and later, the viewer.</span></div>
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<span lang="EN-US" style="font-family: Courier;"> Redmond has worked with fabrics her entire life, graduating from college with an excellent working knowledge. She creates all of her unique textiles, with additional training from some of the country’s most innovative fiber artists. Wen continues to explore her chosen medium, fabric, to see what it can do, to stretch its perception as art medium.</span></div>
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<span lang="EN-US" style="font-family: Courier;"> The one certain thing about Wen Redmond is that she is always inventing new ways of expressing her artistic intent. Wen describes her artwork on her website as an unusual use of fiber combining painting and digital media. Her innovation was rewarded this year by selection for Quilt National as well as being featured in several magazines. Her artwork is shown throughout the U.S. in galleries and special exhibits. Wen shares her discoveries and techniques in workshops at her New Hampshire studio as well as at conferences and exhibitions. You can visit Wen’s studio and see what inspires her on her website and her lively blog.</span></div>
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<span lang="EN-US" style="font-family: Courier;"><a href="http://wenredmond.weebly.com/">http://wenredmond.weebly.com/</a></span></div>
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<span lang="EN-US" style="font-family: Courier;"><a href="http://fiberartgoddess.blogspot.com/">http://fiberartgoddess.blogspot.com/</a></span></div>
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<span style="font-size: small;"><span style="font-family: Courier;">I Dreamt I Met a Man Who Was A Tree, He Showed Me All the Wonderful Lights He Could See</span></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span lang="EN-CA" style="font-family: Courier;"><span style="font-size: small;"> Wen</span><span style="font-size: small;"> Redmond</span></span></span></td></tr>
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Milenahttp://www.blogger.com/profile/10504087805276241834noreply@blogger.com0tag:blogger.com,1999:blog-3189775507035108575.post-86998409533206881942011-12-11T17:05:00.000-05:002011-12-11T17:05:48.803-05:00Maximo Laura<style>
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<div class="MsoNormal" style="text-indent: .5in;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-CA" style="font-family: Courier; font-size: 20.0pt; mso-ansi-language: EN-CA; mso-bidi-font-size: 12.0pt;">Maximo Laura</span></b></div><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-KGRZy25xedg/TuUmrpINq0I/AAAAAAAAEso/NjoAVt95Dhc/s1600/ML+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://4.bp.blogspot.com/-KGRZy25xedg/TuUmrpINq0I/AAAAAAAAEso/NjoAVt95Dhc/s640/ML+1.jpg" width="638" /></a></div><div class="MsoNormal" style="text-indent: 0.5in;"><b><span lang="EN-CA" style="font-family: Courier; font-size: 20pt;"><br />
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</div><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;"><span style="font-family: Courier; font-size: 12.0pt;">Maximo Laura is a Peruvian weaver whose work is timeless. He uses modern weaving techniques to recall the Andean rituals that were expressed by his Pre-Columbian ancestors hundreds of years ago. He is a tapestry weaver, internationally recognized as one of South America’s pre-eminent textile artists and the pride of Peru - his country of birth. Maximo is a scholar of textile art and has travelled the world exploring and teaching in his field. Consultant, designer and lecturer in Art and Contemporary Andean textile design. His work is in collections worldwide and has been exhibited 71 solo and numerous group shows. In fact, in the national museum in Lima, there is a whole room devoted to his work. He has won awards in both national and international competitions including a UNESCO Prize for Latin America and the Caribbean (Spain, 1992), among others. He is co-founder of Iberoamerican Textile Network, member of ATA and ETN.</span></div><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-indent: 0.5in;"><br />
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</div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"><span style="font-family: Courier; font-size: 12pt;"><span> </span>Laura is a fifth-generation master weaver who inherited from his parents and grandparents – all master weavers from Ayacucho, Peru – the traditional style of ancient weaving called Cumbimayocs. He combines also Aubusson, Kilim, Soumak, and Anillado techniques; his thread is from Andean alpaca. But while he is ultimately respectful of the iconography and colours of the ancient Huari culture (which predates the Inca culture), it is his juxtaposition of those traditions with his own design elements and narrative that have earned him many international awards, distinctions and exhibits.</span></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"><br />
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</div><div class="MsoNormal" style="margin: 0.1pt 0in;"><span style="font-family: Courier; font-size: 12pt;"><span> </span>Maximo has taken the tapestry weave to a different level. He is constantly enhancing his unique technique of raising the weft to create incredible depth to his tapestries. </span><span style="font-family: Courier; font-size: 12.0pt;">His work is the rich, singular development of the fascinating and millenarian textile historical source of the Andes in symbiosis with the innovations of the tapestry in the international field, defending its own space in the plastic arts. The historical sources contribute inexhaustible material that must be assimilated, the search of language own and present is the ample challenge to be surpassed. Of this collision between traditional and the contemporary, study of the tools, the application and the innovation of textile techniques he tries to multiply the resources of chromatic expression maintaining the iconographic language authentically Peruvian....</span></div><div class="MsoNormal" style="margin: 0.1pt 0in;"><br />
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</div><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-indent: 47.6pt;"><span style="font-family: Courier; font-size: 12.0pt;">Maximo Laura is what we could call "the weaver of rupture," seeing beyond the selfsame conception of textiles. His tapestries become pieces of art the same as paintings. His codes will not repeat themselves; nor will they have geometric order. Instead, they will appeal to the dynamics of their own subjects. Just like a painting. Finally, his own fingers become his brushes, threads and cords his palette of colours and his loom his comfortable easel. Colour undoubtedly prevails in his finished pieces. Each fibre will have a rigorous chromatic value. The dyes, their gamut of colours, have a special history, a scientific work reevaluating thousands of years.</span></div><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;"><span style="font-family: Courier; font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>Weaver-painter through his creative style, he designs with innate skill both forms and colours, dominating codes that blend into a composition of fibres magically entwined by the incantation of his forms. The conjunction of pre-Columbian cultures becomes entwined, finally turning into a sort of opera omnia.</span></div><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-indent: 0.5in;"><br />
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</div><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-indent: .5in;"><span style="font-family: Courier; font-size: 12.0pt;">Maximo Laura’s respectful research of his ancestor's genuine colours, has found and revealed some of the secrets in their colours and fibres. But where he really stands out is in the use of design. Maximo has not stopped at the weaver's direct and personal action at the loom. For him, weaving is not the unfolding of direct action but breaking point in its conceptual order. His work is a fusion of traditional weaving technique of tapestry alongside a progressive woven sculpture technique; traditional tapestry and contemporary style with three-dimensional representations of Andean mythological themes drawn from Peru's rich history of pre-Columbian cultures such as the Incas and their modern day descendants. </span><span style="font-family: Courier; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">They </span><span style="font-family: Courier; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">are full of vision, ritual, and ancient myths. These pieces are an experience, a collision between the traditional and the contemporary. The iconographic language is authentically Peruvian. </span></div><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-indent: 0.5in;"><br />
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</div><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-indent: 47.6pt;"><span style="font-family: Courier; font-size: 12.0pt;">Laura has his own gods, his own ghosts and an unruly mob of ineffable warriors. Clarion calls, voices in the wind, fiery sunsets and horizons made of a thousand coloured fibres; shapes and colours in the warp that seem to obey their creator's strength; a true brushstroke on tapestry, breaking the crossbar's rule and discovering a magical conjunction. He has many stories to reveal. War cries, brave felines and birds and mountain songs live in his mind, in history books and in the myths and tales he inherited from his grandparents.</span></div><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-indent: 47.6pt;"><br />
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</div><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-indent: 47.6pt;"><span style="font-family: Courier; font-size: 12.0pt;">He combines geometric shapes with animals, people, musical instruments, and many other themes.<span style="mso-spacerun: yes;"> </span>You can stand in front of his work and get lost in the layers.<span style="mso-spacerun: yes;"> </span>Each piece seems to be a narrative of an ancient story, a landscape of imagery and dreams. You can never quite tell where one picture, scene, character or subject begins and another finishes; there are overlaps and conversations amongst all of the images in his tapestries.</span></div><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-indent: 47.6pt;"><br />
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</div><div class="MsoNormal" style="text-indent: 47.6pt;"><span style="font-family: Courier; font-size: 12.0pt;">Although tapestry weaving is an ancient technique, Máximo Laura has brought it into the 21st Century with his modern design ideas and use of colours. Laura fibre art designs may be contemporary or cultural or a combination of both. Today, Maximo Laura represents, in the eye of the specialist and the layman, the artist who has been able to entwine past and present. The social inheritance of many generations of Peruvians who, like him, did not stop at the penetration of other cultures; but, through their creativity, were instead able to enhance and deepen that inheritance whose telluric force will never be refrained.</span></div><div class="MsoNormal" style="text-indent: 47.6pt;"><br />
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