Stitching Less to Convey More – Tsurubride’s Charming Embroidery Confession

 

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It’s a lazy Saturday afternoon and Brooklyn based artist, Meghan Willis (aka Tsurubride), and I are chatting about the calming effect embroidery has on us. One of us ‘might’ have mentioned that embroidering keeps us from murdering people at work. And while mine might actually look like it was stitched by a shaky hand after an actual stabbing, Meghan’s hand embroidered work delicately captures women in various stages of undress, laced in bits of boldly colored textiles.  She gives her women strength within the stitch, dressing them in a celebration of their sexuality, creating an illusion of movement with clean lines — my favorite are her double and triple takes stitched like a series of rapid blinks.

Three of her newer pieces will be exhibited in Paradigm Gallery’s upcoming group show, ‘Stitched’.  The show focuses on the shift in opinion toward embroidery, stitching, and other fibers techniques historically associated with women and “domestic tasks”.  Sadly, this type of work doesn’t get shown in museums a lot.  Is that due, in large part to an ongoing contested artistic legacy of the work? Or is it lack of knowledge of the skill and creativity required to create these artworks? Do you think shifting the focus toward the creativity required to produce these pieces pushes the conversation into the art realm?

Meghan and I jump right into our explorations on the evolution of stitching:

 

I want to steer the conversation away from craft, by refraining from overuse of technical terminology. I think it’s a real concern, that if we continue to talk about the medium in terms of crafting, that’s the way people will continue to view it.

Tsurubride: I see the point. It’s just another way; another medium.  Instead of a pen or a paintbrush – even with digital art and collage – a combination of all these skills come together to bring whatever is in your head, onto the fabric.

It has excited me to see opinions shift drastically about fiber techniques—I stitch during my commute on the train. Sometimes people sit down next to me and either recount watching their grandmothers stitching or express a surprise that anyone still does it.  I’ve noticed that most people don’t recognize what an embroidery hoop is.

I sometimes take my work with me when I travel, but I rarely get a chance to touch it.

How do people react to you embroidering while you’re traveling?

I have stitched while riding Amtrak a couple of times.  Once I was in business class sitting around people in suits.  There I was, in my jeans and t-shirt, stitching a nipple.  It was actually the perfect thing to be stitching in that environment. It was like, ‘yes dude, I’ve got my boobs over here, it’s all fine folks.’

What a juxtaposition (laughing). 

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For a while, embroidery seemed to be viewed as a lost art form and an antiquated one at that. We generally tend to think of older women embroidering.  So I think people are shocked to see younger women – even men, now taking up this art form.  Even the way they choose to express themselves with it seems to raise eyebrows, and a lot of curiosity.

I’ve been stitching forever and I know a large part of the embroidery community have stitched for a long time as well. When you hear words like “a resurgence,” its’ like, ‘No we’ve always been doing it.

I do think there’s more awareness being brought to it. Hopefully its less in the shadows – hopefully receiving less craft credit and more art credit.

With a rise in popularity, how soon do you think it will be before embroidery kits are being stocked in the novelty section of Urban Outfitters?

I think that would be fun.

I certainly like to create my own work, but if you’re just getting started and see that kit at Urban Outfitters, perhaps you’ll pick up that hoop and have some fun with it… Maybe they start with that kit, have their own take on the product and build into some really innovative ideas.

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I learned my basics from aunts and my grandmothers, but I still take to resources like YouTube to learn more from other people in the stitching community.  At the end of the day, I’m still thinking about how to transform that information into my thing.

I think places like YouTube are great for learning new techniques, but you have to find your own take on it – your own approach to it.  At least those sort of resources are there to start with the fundamentals…

The question is, ‘how do you now incorporate that into your work?’

People on Instagram will comment and ask what stitch I’m using.  I only use backstitch, but it’s the way that I’m using it – people are surprised that that’s the way it ends up looking. Taking something as simple as that stitch and being able to translate it into my work ends up creating this visual that’s my trademark.

Were these skills passed down to you?

As a little kid, I was very crafty.  Both my grandmothers were very much into sewing – they encouraged the habit.  I started making terrible clothes for my Barbie doll. The fabric would be sewn wrong sides together  You’d turn it out and the seam allowance would be all wrong.  Everything would be done with these really long stitches cause I was impatient, I just wanted to do it.  I never thought about how the Barbie doll would then get into the clothes.

It seemed like a natural progression to be in fashion.  During the day I do that, and then at night I don’t want to make clothes anymore – partly because that is part of my day job.  This is a lot more relaxing, to be able to sit and create something.

I still have that same impatience though – I love the beauty of fill stitches but that’s part of the reason I never really incorporate it into my work.  I have an idea and I need to get it out of my head and create it.  fill stitches seem like they’re going to slow me down.  I’ve got too much art to make!

I love that confession. Impatience is such an oxymoron when you think about embroidering.

When I look at your work I’ve always thought , ‘it’s so purposeful in what side of the story you choose to tell by what was meaningfully left out’.  Knowing this now doesn’t make your work any less lovely, it enhances for me. You’ve really made the point that less is sometimes more.

Even when I started with the leather appliques… that happened because I used to make handbags in my spare time, and I had a lot of leather lying around .  I thought, ‘well this could be neat as a mixed medium, so I started playing around with it.’.

Even now, I’ll try to go back and work with some fill stitches, but it’s too slow… I’m so jealous, there are many other artists out there who do incredibly beautiful work with fill stitches.  It’s like, dammit. How do you do that so well?  I know it’s just practice, but I can’t… I got to get the ideas out of my head now.

I think it’s more than just ‘practice’.  Especially after talking to the other artists participating in Stitched.  It has a lot to do with the way the artists sees things and how they translate that.  A perfect stitch is pretty to look at, but perfection can be wearying.

That’s true.  I saw your post on Michelle Kingdom. There’s a great example of someone using fill stitches, but not in this clean, overly perfect way.  It’s got a movement and a romanticism to it.  Her stitching is more painterly.

I always feel like my work is more illustrative versus that painter technique.  Its’ more about clean lines and movement in that sense of after the thread versus following brush strokes.

It’s just another way of expression.

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Fun Facts:

The Stitch Acquiesces To The Dream – The Embroidery of Michelle Kingdom

“Drawing with thread,” is one way LA-based artist Michelle Kingdom describes her intricately embroidered small-scale worlds – threaded dreams and inner voices that cause her needle to meander away from technical techniques in favor of following her vision.

“There is truth to these compressed moments; there’s fear, hope, and gut instincts. It’s more about those moments when you are lying in bed, looking up at the ceiling, thinking – not subconsciously – not moments you can’t remember or access. It’s the chatter that you can’t shut off or shut out… My work is about snagging these vignettes. What I’m not stitching is just as important as what I am.”

Her commitment to capture the imagery makes conventional stitches acquiesce to a more expressive turn. Each thread has a different intention than the colored stitch you see at first glance. Even the names of her pieces are well thought out, “It takes a couple of days sometimes.  I compile/collect quotes and passages from books, and verses for inspiration.  It has to feel right.”

The art-craft aesthetics of the traditional vs. modern values being assigned to embroidery is sometimes still debated with a look into the artists’ process.

Traditional embroiderers’ tend to flip the embroidery over and check out its bones – so to speak.  Michelle and I talked about that inclination to read a piece by checking the backside to see if the stitches are tidy. “Mine are often a war zone of stitches and knots. When it’s too tidy back there it often means I’ve lost something.”

Spontaneity in embroidery is an irregularity –if a ‘read’ is betrayed by the threads in the back of her pieces, then Kingdom’s organic arrival to the end of her journey is a fantastic maelstrom of threads exposing the depth and the complexity of their layered emotions.

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Tending Mislaid Burdens

You can see Michelle’s work during the upcoming show “Stitched”, an exhibition focusing on artwork that makes use of embroidery and stitching techniques. The group show will be in two parts, the first opening Friday, March 24th and the second opening Friday, June 23rd at Paradigm Gallery + Studio.

Enjoy these great links to more information on Kingdom:

  • Two of her favorite inspirations? Henry Darger  & Darrel Morris – “Both made great works based on snippets of their childhood. Very dark imagery.”
  • bG Gallery published a book on works compiled from Kingdom’s latest show.

 [Website] [Instagram]

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Duties of Gossamer

The Embroidery of Michelle Kingdom

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Roots became Skeletons

The Embroidery of Michelle Kingdom_Headlong over Precipices

Headlong over Precipices

The Embroidery of Michelle Kingdom_The depths of the sea are the only water after all

The depths of the sea are the only water after all

 

Michelle Kingdom: Facebook, Instagram

All images via Michelle Kingdom.

Erin M. Riley Opens Solo Show “Simple” at Hashimoto Contemporary

Erin M. Riley Opens at Hashimoto Contemporary

Artist, Erin M. Riley’s meticulous hand-woven tapestries are intimate portraits into past experience, of both personal and communal memory. The large-scale work confronts viewers to contemplate subjects often considered socially taboo.  Frequently autobiographical, her work addresses the innate trauma of womanhood and the objectification of the sexualized body.  This Saturday, March 4th, Riley will show a solo exhibition of brand new, hand sewn tapestries entitled “Simple” at Hashimoto Contemporary in San Francisco, California.

Simple” is a culmination of her previous bodies of work and serves as an investigation into the complexity of the feminine identity. The artist explains that because of the Internet’s infiltration into our personal lives, “Intimacy is blurred, bodies exist in this surreal way, sexuality is abstract. A few specific pieces in the show are of experiences I have had throughout my life… These are the moments we prepare ourselves for with self-defense mechanisms and paranoia. I am trying to evolve from these moments but also want to acknowledge them so as not to live in denial or make people feel like they are alone.” The work physically memorializes moments of our fleeting digital life by depicting selfies, text messages, and screenshots of pornography.

The exhibition also features weavings of car wrecks and images of abuse, often accompanied with lines of text. One piece entitled “Portrait of a Father” portrays a crashed semi-truck, with the interwoven caption “you don’t deserve my forgiveness.” Riley utilizes the truck as a metaphor for “how sexual violence knocks us off our axis” and challenges the viewer to consider the inherent aggression women face in our contemporary society.

*information via Erin Riley press release

ULLA STINA WIKANDER: EVERYTHING OLD MADE NEW AGAIN

Ulla Stina Wikander cross stich embroidery

Ulla Stina Wikander cross stich embroidery

Artist Ulla Stina Wikander uses cross stitch embroidery to create a new skin for everyday objects. Finding older, outdated technology, and furniture, she lines them with colorful embroidery that’s just as old (or older). “The cross-stitch designs I have collected for many years,” she explains, “and placing them in a new context allows them to change.”

Ulla Stina Wikander cross stich embroidery

via [My Modern Met]

Spotlight: Nick Cave

Artist Nick Cave

World-renowned artist, Nick Cave once danced with the Alvin Ailey American Dance Theatre before pursuing visual art studies. Now as a notable educator, and artist he continues to expand his repertoire of monikers: performance artist, sculptor, dancer, fiber artist, fabric sculptor….

His work melds art, fashion and dance together in otherworldly, dreamlike sculptures – most recognizably, his ritualistic costumes called “Soundsuits”: bright wearable embellished fabric sculptures that make sounds when worn. These sculpted, textured full body soundsuits layered in colorful metal, plastic, fabric, hair, and other objects designed to rattle and resonate with the movement of the wearer, usually Cave himself.

The soundsuits hide gender, race and class, forcing you to observe without judgment. They are sometimes sedentary, standing quiet as a more traditional piece of sculpture set in place within an institution or displayed at an art fair. However, sometimes they are in movement – alive in motion, engaging you in a joined narrative. The combined elements of sound, performance, color, and costume create a layered complexity – visceral moments entwined with a performance built on impulse, provoking a bond with the unfamiliar.

Artist Nick Cave soundsuit trio

 

 

Artist Nick Cave in sound suit Artist Nick Cave Artist Nick Cave soundsuits

A few years ago, we were fortunate enough to catch Cave’s performance HEARD. He bought his mesmerizing soundsuits to Grand Central as part of their 100th year celebration. The performance piece featured thirty of his colorful horse suit creations wandering and dancing in the train station at set times.

Nick Cave [Website]

The More You Know:

  • Check out Nick Cave’s current exhibition (his largest to-date), expounding beyond the soundsuits, an exploration of thoughts on race and identity.  Until is now running at Mass Moca
  • Teaching with Nick Cave’s Until, Until Conversations Emerge, Art21 | “Nick Cave’s most recent installation, Until, is an immersive and subtle confrontation…asking viewers to pay attention to the point at which they become participants in discussions about violence and race in America—right there in the gallery space itself.”
  • Visit the SoundsuitShop, which was created to share the art of Nick Cave with a wider audience.
  • VIDEO: Art21 exclusive, Thick Skin gives some insight into the impetus behind the Soundsuits.

 

“Extended Long Play” by Jolie Bird

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We’re crushing on this golden knit installation, Extended Long Play, from artist Jolie Bird.  These are the times we wish there was an art space in the office – we’d certainly put exhibitions like this on display.  It’s a pipe dream right now.  Until that day arrives we’ll give you the insights behind this design aesthetic from Bird herself…

“The exhibition, Extended Long Play, explores the idea of displacement through the use of everyday objects. Together they represent a collection of modern and stylized home decor objects. Although they do not belong to the same time, they are connected through their function and their design aesthetic, presenting a section of a room where someone sits alone listening to music. The objects are common, and found in many homes, making them easily identifiable … The pattern references a four-harness basket weave used to weave cloth, and resembles a soft floor covering commonly found in this part of the home. However in this context they appear cold or sterile, referring to the site for the installation, specifically the presentation of objects within a gallery setting. By presenting the objects in this way they are further removed from the ordinary and are now presented as artifacts for aesthetic contemplation. The white and grey tiles act as a negative space against the intensity of the gold thread. This remarkable colour highlights the transformation from mundane to precious; the objects appear to be dipped gold.

“Extended Long Play” by Jolie Bird_turntable1 “Extended Long Play” by Jolie Bird_turntable

I started this process in 2007, since then I have obsessively refined and perfected this skill. Now that I have dedicated literally thousands of hours to the task I think about it in a much different way. Some aspects have become like second nature, my hands instinctually know what to do next. I tend to focus on ways of enhancing my sensorial experience. I play loud music on my headphones, more often than not I listen to heavy, droning metal. Music that is repetitive and has a certain rhythm can amplify the repetitive motion of applying the thread. In doing so I slip further into my own thoughts, feeling far removed from my physical reality. Fibre, through its very nature, communicates time; like many other textile techniques, this binding process requires patience and longevity even though it is a relatively simple task, with the making process inherently connected to its meaning.” 

“Extended Long Play” by Jolie Bird _vinyl “Extended Long Play” by Jolie Bird

*all photos and words property of Jolie Bird

Discover: Tsurubride the art of Meghan Willis

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Brooklyn based artist, Tsuru Bride (Japanese word for crane), aka Meghan Willis, celebrates women’s strength and sexuality through her work; and I love her semi-super hero dossier. “By day I work in the apparel industry, and by night I explore the art of undressing, movement, and sensuality through embroidery,” she writes. “I aim to tempt the viewer to follow the delicate stitching that caresses the bodies I reveal through thread.”

Her work is hand embroidered on linen, leather appliques are stitched often creating colorful illusions, then hand painted with acrylics. Check it out these conversation starters…

 

Tsuru Bride-tart

Tart, Stretched Canvas, 8″ x 10″

Tsuru Bride-open closed

Open Closed, 10″ x 11″

Tsuru Bride-tug

TUG, silk organza, Liberty print, and leather appliques 10″ x 12″

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Double Exposure No. 5 (Tita), 8″ x10″

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Double Exposure No. 3 (Nina), 8″ x 10″

Tsuru Bride-rift

Rift, 9″ x 17″

Tsuru Bride-coy

Coy, 10″ x 15″

 

Discover More:

Tsurubride Instagram

Tsurubride Website

photos courtesy of Meghan Willis website.

Ben Cuevas ‘Transcending the Material’

Los Angeles-based artist Ben Cuevas’ current obsession is yarn.  Knitting worked itself into his art after he learned from a close friend and now creating conversations via fiber sculptures is a central feature of his work.

Our favorite so far is his installation entitled “Transcending the Material” where a knit sculpture of a human skeleton sits in lotus position atop a pyramid of Borden’s condensed milk cans.

“…It’s such a tactile medium and I’m really drawn to that quality of the material. The way it feels in your hands, the way it helps you mark the passing of time…all of these qualities seem very meditative to me.  I enjoy the rich cultural and social history that surrounds fiber arts, as well as blending the distinctions between art and craft. The time intensive and repetitive nature of knitting allows me to meditate on a piece as it comes into being, further revealing the nature of the work as part of the process.

While I explore a wide range of subject matter (such as gender and sexual identity, human rights, and ecological impact), my work is rooted by my desire to explore the condition of embodiment through comparative philosophical perspectives, reflecting on what it means to have a body, to inhabit a body, to be a body incarnated in, and interacting with, this world.”

Shifting Consciousness with Chiharu Shiota

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"The Locked Room" 2016, KAAT Kanagawa Arts Theater, Yokohama, Japan, photo by Masanobu Nishino “The Locked Room” 2016, KAAT Kanagawa Arts Theater, Yokohama, Japan, photo by Masanobu Nishino

‘A sleepy mystery intertwined with beauty’, is how I like to think of Chiharu Shiota’s intricate large-scale installation pieces exploring the relationship between body and mind. Her work feels like being let into remnants of someone else’s dreams.

She tethers her memories to objects with lengths of tangled, crisscrossing black threads, securing them in a physical realm. Here we are offered the questions, the quandaries of an woman who dreams herself in and out of reality without ever really leaving the suspension of time.

It’s rare to see Shiota’s installations come towards the U.S., although (claps) her 2017 exhibition calendar has a solo show booked for Feb 21 2017 – Aug 6 at the SCAD Museum of Art, Savannah, GA / U.S.A.

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Conscious Sleep, Venue: Cockatoo Island, 22th Biennale of Sydney, photo by Paul Green

Conscious Sleep, Venue: Cockatoo Island, 22th Biennale of Sydney, photo by Paul Green

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“When I dream, I feel the dream as reality. I can’t distinguish between dream and reality. When I wake up, I have the feeling I’m still dreaming.” -Chiharu Shiota

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I found a pretty amazing time lapse of “After the Dream” being installed at Birmingham Museum & Art Gallery during the ‘Lost in Lace’ exhibition in London back in 2011.

DISCOVER: THE COMING UNDONE OF ANA TERESA BARBOZA

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Textile Artist, Ana Teresa Barboza is onto new things – embroidered landscapes and plants. But I’ll be forever attached to her series, BORDADOS, where she explores the art of embroidering the body and skin.

It’s visually intoxicating to imagine the grabbing, the pulling of oneself apart into threads to rearrange your fabric; stitch yourself back together in a way more suitable to breathe.

She makes it seem a natural course of thought, that one could exist in a space that allows nature to emulate canvas, where we can weave ourselves anew with needle and thread. These works are primal representations of structures torn from within or adorned throughout.

 

“Working with my hands, it’s something I’ve always done since childhood… and the incredible images that textiles can produce. I feel the fabric gives familiarity to the image, it pulls you in to stop and admire the details.”* – Ana Teresa Barboza

 

Artist Links: Ana Teresa Barboza Website

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bordados

 

*quote taken from interview with Barboza at Textile Artist.

Explore another artist who takes needle to skin, in our interview with  Eliza Bennet’s “A Women’s Work is Never Done”.

 

Embroidered Vintage Rackets

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Well, our old tennis rackets are simply hanging out in boxes, pushed away into dark corners of our basement closets. Meanwhile, Cape Town-based designer and embroidery artist, Danielle Clough uses them to frame off vibrant embroidered flowers.   Her series, What a Racket features brightly colored wool flowers weaved between the delicate threading of old badminton and tennis rackets.

Rackets aren’t the only things she’s been embroidering, check out her website to see her other fiber art projects.

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Danielle Clough_racket

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Caitlin McCormack Stitches Together Memory In Her Solo Show MNEMOSYNE

MNEMOSYNE – Mne·mos·y·ne \ni-ˈmä-sə-nē, -zə-\- memory

A memory is what is left when something happens and does not completely unhappen. -Edward de Bono

In a room of silent things, everything whispers as Philadelphia artist, Caitlin McCormack’s solo show Mnemosyne explores the mind’s attempt to reconstruct fragile remnants of memories before they are tainted.

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McCormack sets the tone of the show with various cabinets of curiosities – drawers open to reveal slumbering stitches arranged in categorical boundaries yet to be defined, beveled shadow frames.  Within this realm, McCormack marries found threads to existing pieces, embracing the melancholy of time overlapping memory in her delicate play of intersecting loops. In the crocheted bones of her discordant creations, lay manifestations of resurrected truths and birthed falsehoods; a balance of beguiling recollections arranged in unnatural juxtapositions.

MNEMOSYNE’s sense of fragility underscores a precious attempt to preserve that which has fallen into Obscura – to present a persistence of memory, as new life is stitched together in the parameters of anamnesis where memories live as beautiful fabrications that belie a beginning and beg off an end. There exists a haunting calm within the delicate wisps trying desperately to be more than retired graces of things they never were. ‡

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Menmosyne skeleton

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“It is the second installment in a cycle of exhibitions; an examination of the consequences of my practices, as they pertain to the scrutiny of memory’s authenticity. I am drawn towards a vacuous well of recollection, in which the fibers connecting a network of truths and fabrications fade in and out of darkness, at the bottom of which resides a glimpse of memory’s mass extinction.” – Caitlin McCormack

‡version of this article was originally featured on ParadigmArts.

Mnemosyne is up at Paradigm Gallery until Friday, November 13, 2015.

*Photos courtesy of Jason Chen