What: Three new exhibitions by Dell Stewart and Isobel Knowles, Sarah crowEST and Esther Stewart open at Craft this October
When: OPENING 6pm Thursday 17 October 2013, SHOWING 18 October – 30 November 2013
Where: @ CRAFT 31 Flinders Lane Melbourne
Gallery One: Dell Stewart & ISOBEL KNOWlES Stitching Time
Local art and animation dynamos Dell Stewart and Isobel Knowles explore movement through textiles and animation in their new exhibition at Craft. Stitching Time offers a moving, screen-based dimension to textiles.
Stewart and Knowles argue that stop-motion animation and textile production share several elements. “With animation you create frames one after the other, just as you hook one stitch at a time, weave one thread, never really being able to see the results until it’s complete. Having faith in the outcome is part of the process. Experimentation happens at a very slow speed and a keen ability for visualisation is a key resource to both mediums.” The two local artists both have a history of working with animation and textiles in various techniques and for Stitching Time they have asked a collection of textile artists that work across a broad range of techniques including knit, embroidery, weaving and print to make new work for the exhibition.
“Animation and textiles also both share a love of movement. A lot of textile work is not just about making a texture or a pattern but about making an object that will move and change shape according to its use. With animation we can explore and play with this potential for motion, capturing and illustrating the movement to the audience.
The artists collaborating in Stitching Time with Dell Stewart and Isobel Knowles are Emma Byrnes adn Lara Davie (from Harvest textiles), Jeremy Dower, Kate Matthews, Kayo Taguchi, Maryann Talia Pau, Pauline Tran Cecil, Penelope Durston and Rebecca Hayes.
Gallery Two: Sarah CrowEST Tumbleweed methodology: A theory of the cycle of things
In Sarah CrowEST’s new exhibition at Craft, the traditions of textiles, abstract painting and sculpture are referenced through a group of overtly handcrafted objects in various stages of cycles of use and re-use.
Tumbleweed methodology: A theory of the cycle of things features a series of large, two-dimensional, painted linen works on the wall of Craft’s Gallery Two, and three large, asteroid-like objects placed on the ground. At first glance Tumbleweed methodology visually registers as a traditional abstract painting exhibition, with the floor space interrupted by three large forms. To engage with the wall works the viewer needs to negotiate a path around two masses and the huge cylindrical bolt of cloth.
‘Tumbleweed methodology’ is a term coined by the artist Akira Akira to describe the process through which a body of knowledge is blindly accumulated by its own mobilisation across multiple terrains, a non-predetermined picking up of bits and bobs.
The concept for this exhibition derives from a return to textile-based works evolving from CrowEST’s recent sculptural practice that revels in the oscillations between categories such as the readymade and the handmade.
“This new and emerging direction in my practice explores the materiality of textiles in various permutations, such as loomstate (on the roll), hanging, stretched (in the manner of paintings or panels) and as an enveloping element of sculptural forms.”
Gallery Three: Esther Stewart Geometric Colour
Esther Stewart’s dynamic new exhibition at Craft explores the way in which the perception of colour changes in different contexts, and how unanticipated colour juxtaposition can dramatically alter visual emphasis. Geometric Colour is a bold and arresting display of colour, where the artist has created a space ‘where colour has taken over’.
“Drawing on my past works I have created a new body of work that shifts between the static and dynamic, “ says Stewart. Works are connected to the gallery walls and are designed to intriguingly ‘fold off the wall’. “I am exploring the boundaries between a traditional-hung gallery installation and a flexible interactive environment. It’s a site-specific response to the architecture of Craft’s gallery.”
By incorporating flat, hinged and prop pieces Stewart is exploring the distinction between, craft, design, art, and functional objects. She is interested in the intersection of these different practices and how exhibitions and works are interpreted. “My work sits at the intersection between craft, art and design. All of my works are handmade, but embody attempts to remove the sign of the hand.”
But it is Stewart’s colour-play, and the interaction of the work in the space that is most arresting. “I am playing with shadows and thus enhancing the physical objects. My work here blurs the line between where the work starts and finishes.