When I look back on my blog entries I’m surprised how little I’ve written in comparison to how much time I’ve spent trawling through websites for images, listening to interviews and reading articles written about the artist in question.
Now I’ve looked up the artist mention in Tapestry and Identity in Australia I can settle down to read the article. It’s a cold rainy July day here so I’ll be gaining a little Australian sun by proxy.
“Tapestry. so tightly woven and firmly beaten, is one of the most permanent textiles, and can be handed on from generation to generation as tangible evidence of time and history.”
“Tapestry can function as a ritual object in an increasing de-ritualised artworld, where radical art practice as assumed to be anti-establishment.The archaic technique gives resonance and solidarity to the vigorous and questioning image makers of Australia and substantiates a ‘claim to the past’.”
“In the complexities of relationship within the textile/tapestry arena, tapestry plays a ‘paternal’ role, identified with public institutions and symbols that carry the power of the state, while textiles are alied to more bodily and sensual processes that refer to ‘intuitive’ maternal domains.”
“how can women see themselves as artists when the idea of ‘self’ has traditionally been constituted as male, unhindered by a body dedicated to nurturing?
At this point I’m finding the article frustrating as once again I’m looking up artists and images Diane Wood Conroy is referencing only to draw a blank. I know the article was written to accompany an exhibition but I think the works mentioned are not part of it.
I keep forgetting what the word ‘haptic’ means and according to the OED “Of, pertaining to, or relating to the sense of touch or tactile sensations.”
As texture is an important feature of my work I must remember the word!
“This tapestry ‘language’ is used in conjunction with provocative and confronting images – the unpredictable images work because of the contrast with the discipline and historic language.”
“In own own era, when the technological super highway cuts visual ans textural communication across continents to a fraction of a second, time indeed becomes a fascinating dichotomy in the making of tapestry.”