screen print,varied series of 5
A series of five prints selected from a larger body of work that explores the process of layering and blocking of ink with the use of different textiles.
Erica Wilk
Negative Five String, 2009
screen print,varied series of 5
A series of five prints selected from a larger body of work that explores the process of layering and blocking of ink with the use of different textiles.
screen print,varied series of 5
A series of five prints selected from a larger body of work that explores the process of layering and blocking of ink with the use of different textiles.
Neil Chung
Husks, 2009
Clothing pattern paper, string, water
Room installation
Upon researching the fur trade active in both Asia and North America, I wanted to create an art piece with an atmosphere in which the audience would be able to have a visceral response to the remains of fur-bearing animals. To create an unsettling atmosphere, I chose to create an installation in which viewers could walk through rows of animal ‘shells.’ These remains were made from clothing patterns cut outs, and were sprayed with water. Both the physical properties of the piece, the musty smell of the paper, and the air currents present in the room, allowed me to achieve creating an uncomfortable environment fraught with questions.
Lynn Price
Ironing Drawing, 2009
video and shirt, installation
Ironing is an example of mundane mark-making. In this work, I use ironing as a drawing medium and as a performance to question theconnections between history, gender roles, and art production.
video and shirt, installation
Ironing is an example of mundane mark-making. In this work, I use ironing as a drawing medium and as a performance to question theconnections between history, gender roles, and art production.
Diego Pacheco
This installation creates a narrative and dialogue between the material realm of textiles and the dream world of imagination and thought. Combining hybrid embroidered creatures, excessively long scarves, and floral printed wallpaper this work creates a fantastic world of dreaming delight.
Maia Rowan
Textile arts and fashion have inspired me to explore the possibilities of materials. Fabric can not only shelter in the form of blankets and clothing it can become architectural. Inspired by Valentino’s line of handbags on which flowers and bows and patterns emerge 3D from the bag itself I set off to experiment with 3D decorations on clothing, in particular on a dress. I want to show that fashion is most definitely a form of art. The intricacies and aesthetics of layers of fabric, which create forms are highly stimulating visually as well as physically. I want to create a dress that is the contemporary application of the victorian era structural textiles, or Marie Antoinette's decorative clothing.
Cherie Crocker
Bicycling Jacket
Variable dimensions
The materials used have all been bought at a second-hand store or are sustainable fabrics. However there is more than an an environmental comment being made with this jacket. One can see the 'mess ups' and struggle with the material; it is not functional with wing like flaps in lieu of sleeves. A fashion that does everything wrong, almost an anti fashion. The unique design and home made look reflects my intention to be cognizant of the processes implicit in our daily routines: how we clothe, transport, feed, and shelter ourselves. It is presented on a Judy, thus a further parody of individual representation juxtaposed upon a mass-produced object.
Curtis Oland
I am interested in the aesthetic of certain art historical periods, (specifically the Rococo), and I try to create my work within a contemporary context while still keeping to an 18th century style. I am attracted to expressions of wealth, frivolity, and sensuality. I rarely create a work that I don't have some kind of sexual attraction to. With my piece here, I am looking into stereotypes of sexuality and gender, and creating a contrast between our perceptions of what is masculine and what is feminine. The football player is a figure of hyper masculinity that contradicts the delicate, rich fabrics that adorn the protective equipment. The piece also has a fetish-like quality. Whether the wearer is male or female, there is a kind of homoeroticism. My work, although while somewhat political, is playful in nature and is not meant to be taken too seriously.
Jennifer Norquist
Evulving Botanically
Performance-based soft sculpture/video art project
This organic, fabric form is like a flower, that opens up and carries like a purse, revealing many hidden treasures from within. Across the vast expanse of supposed attributes that create feminine identity, we find direct confrontation and confusion with actual female experiences. This soft sculpted vessel has become a container for much of the social baggage that I have long desired to unpack. Through play and performance this 'purse' comes to life, allowing metaphors and meaning to unfold beyond my expectations.
Katharine Ferns
What Remains 2010
Hand-felted Coopworth and Merino wool
Diptych: 26” x 54” and 23” x 50”
Utilizing various media such as painting, textiles and felt, the reoccurring element of sewing is constant throughout my practice. Whether using surgical sutures or thread, the process of repairing and combining materials is crucial to the construction of meaning in the work. In What Remains thread connects different felted pieces together to create an image that is not resolved despite the attempts of reconstruction. This work relates to the healing process that produces not only physical scaring but also involves the re-conception of self.
Amanda Klassen & Neudis Abreu
"Strapped"
Strapped is a series that speaks to the anthropocentric views that have fueled the expansion of the consumerist culture. We are slowly discovering that our planet cannot afford to provide us the many comforts with which we surround ourselves. The depletion of non-renewable resources as an eventual reality leaves us turning out our pockets in search of answers. Even in the face of such imminent danger, we are reluctant to change our ways until the consequences of past decisions finally envelop us.
Dottie Locks
This piece of fabric, found at a thrift shop is 65.5 inches wide by 96.5 inches tall. The pattern speaks of the life cycle of the worker bee, and how it creates the honey comb palace; where the worlds most secret recipe is stored, honey. Honey is the only food in the world that never goes bad, even after centuries of aging. This piece was a surface design project for my GEVA Print Media class this term, spring 2010. Bees hold an important position in the interconnected reproductive botanical cycles in life, they help the flowers and the fruit trees live on and survive. I believe that patterns of the natural world help inspire a reminder to the viewer of their importance in our everyday existence. Bless the bees!
Caroline Mousseau
Manitoba WeftLand
Acrylic on canvas
36 x 96”
2010
Weaving from one extreme to another, the plains seem to be timelessly mechanical. In truth, these routines are irregular and organic in nature. The practice of landscape painting often attempts to apply a possessive vignette to the land’s cycle, which can be seen as an encouragement of consistent human activity, and a justification for marring these lands for centuries. However, the laborious act of weaving with paint addresses the regularity of its seasonal transitions as a bid to appreciate their oscillations. The weft is therefore allowed to exist in between art and craft, the contemporary and domestic signifiers associated with textiles. By negating land as an object and replacing it with the notion of land as a process, an interchangeable power dynamic is woven through the territory and its inhabitants.
Louise Reimer
My work is exploring ideas of 'home' as conveyed through the traditional 'domestic' medium embroidery. I want to contrast the dour monotony of the Vancouver Special with the expected sweetness of the'home sweet home' embroidery. To me, Vancouver Specials are metaphors for my relationship with East Vancouver. It is rundown and dreary, and kind of ugly, but it is also my home, and can be charming in its idiosyncrasies.
Bonnie Mckibbin
Grandma Told Me So (2010), 24 x 16 x 7 inches.When the nomadic mind packs its luggage, some things get left behind and others are carried around forever. The items of experience chosen to be included in this metaphorical suitcase are of great importance to the owner, either out of unnecessary sentimentality, essentiality, or both. Sometimes, the stories that are remembered or forgotten are not even ours, but have been heard so many times we feel we have just as much right to them as the teller.
Amberlie Perkin
Barnyard Fun is a “choose your own adventure” story where readers can lay out the pages however they want and move the animals around to create different stories. While a fair amount of my artwork deals with themes that are generally more serious or melancholy, Barnyard Fun is an expression of the other side of my life- I am a Social Development and Art Teacher for young children. In this part of my life I am continually creating crafts, cutting construction paper, playing with children and leading circle times for little ones and their parents. Working with children is my passion. I love how they are unpredictable, free spirited and that their imaginations and creativity know no bounds. Barnyard Fun is a celebration of all of the things that I love about children. It is also a celebration of what I love about great children's books - it has engaging characters, bright colours, and room for imaginative interaction and play.
Ellie Kim
Inspired by Korean traditional screens, the screen series talks about my personal
importance and values. Each piece refers to my own background, first language and life
changing events.
Sheila Tse & Ellie Kim
Effloresce
2009 | Waterproof Fabric, Wire, LED lights, Humidity Sensor,
Water-reactive Ink
Inspired by the Vancouver rainy weather and the S.A.D (Seasonal
Affective Disorder) victims, Effloresce is an interactive raincoat
which consists of a weather forecast technology that predicts precipitation. Prediction is then signified by blinking LED lights to notify the user to wear the raincoat as they travel in the rain.
Printed with water-reactive ink, the textile pattern is inspired by the Pacific Dogwood, the flower emblem of British Columbia. The hood structure created by wire also adds to the design by protecting the user's hairstyle. This design hopefully encourages more activities in the rain and promotes the idea that raining can be amusing and beneficial to the environment.
Chun Hua Catherine Dong
Life itself is a performance. I consider performance an attitude rather than a medium, anideology rather than a style, a situation rather than an action. As part of my interest in identity politics and postmodern feminism, I utilize my own body as a disturbance or intervention in order to explore ruptures in society. I do not attempt to reclaim my female body from masculine objectification and the gaze, nor dismiss its potential to arouse desire and fantasy. On the contrary, I expose my vulnerable Asian body within the western context and let it become an object to be gazed at and closely examined. The body only functions as a disturbance that might arouse desires, but not a real object to be physical possessed and controlled.
Meredith Sykes
Comfort and Safety 2009 Cotton, Tie-Dye, Vinyl, Mixed Textiles. 77"h X 57"wMy goal for this project was to create a standard quilt with all the love and care I could place into it. On top of the quilt was an appliqué motorcyclist that had just crashed. I wanted to fuse together the comfort of the quilt, the love that was placed into its creation, with the caution of the perils of the road.
Monique Motut-Firth
...& Polly Vishloff (Baba), 2005-2010. Embroidery on Felt, 11” X 8.5” X 1.5”
Closing the generation gap stitch by stitch, grandmother and granddaughter create a series of unique textile Children’s Books to promote discussion on healthy eating, organic food production and cultural identity and heritage.
It started as a very simple idea; a small story about what my grandmother (Baba) meant to me, to share with my yet unborn baby, my grandmother’s first great-grandchild. It turned into three stories and a 5-year project: a give and take labour of love, patience and cooperation, one generation guiding the other. This series of books demonstrates traditional female knowledge of organic food production, the cultural and social means of meal preparation and fine art/craft for future generations of women.
Carlyn Yandle
Corporate Sponsor Sweater
2010
100% wool
"There's something very Canadian about knitting up issues of appropriation, corporate control, and the right to freedom of expression into a cozy sweater."
Visit Carlyn Yandle's website
2010
100% wool
"There's something very Canadian about knitting up issues of appropriation, corporate control, and the right to freedom of expression into a cozy sweater."
Visit Carlyn Yandle's website
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