I was unable to find much information about Karin Lundstrom other than that she is a textile designer based in Umea, Sweden and that she had an exhibition in 2015. I was drawn to this image both for the use of colour and for the needlework, which I perceive as drawing with yarn. My current explorations involve using paper and thread to create a visual tapestry.
Ines Seidel uses old text to create new meanings. These texts are often in the form of discarded newspapers, or, as in this case, an old book. What is apparently no longer useful is partially destroyed, transformed and given a new form. My research on stitching on paper as an art form led to the discovery of Ines Seidel. I found her to be highly innovative in her use of stitching, combining paper and yarn as a medium of artistic expression embedded with meaning.
Milhazes harnesses colour, pattern and vibrant energy to create works which one might describe as highly decorative. The sense of being immersed in a world of repetition, which this image evokes, are akin to my use of stitching as a medium. I am also drawn to the colours and the feeling that this work is imbued with femininity.
Sonia Delaunay was a pioneer of abstract art. I was attracted to her harmonious juxtaposition of pure colour, and the form her abstract works took. I was intrigued with the fact that her explorations of colour and form began when she made a quilt for her son. This background in craft is something which we share, as well as the use of bold colour and rhythmic composition.
Robert Kushner was one of the founders of the Pattern & Decoration Movement of the 1970s to early 1980s. The movement was the antithesis of conceptual art and Minimalism, which held sway at the time. P&D challenged the status quo and embraced the use of decoration, pattern and visual pleasure in art as an end in itself. The strong, rich colours, and the pleasure derived from looking at this work are connected to concerns which I am addressing in my own explorations.
Miriam Schapiro often used marginalised media such as fabric and sewing to create abstract patterns in vivid colours. Her focus was to bring traditional 'women's work' to the attention of the art world and to have it validated as fine art. The decorative quality of this work, together with the patterning, tie into an interest I have in pattern and decoration.
Nava Lubelski’s work investigates the tension between damage and repair. Deliberate destruction of the canvas is followed by needlework to 'repair' the damage. Mending, traditionally a domestic duty with a practical outcome, now functions as a means of artistic expression. This work has an explosive quality which I am drawn to. It ties in with some of my work which uses splotches of ink on absorbent paper to create dynamism. Additionally, the use of needlework is also relevant to my work.
My interest here lies with Gunta Stölzl's use of colour and use of pattern. She was a German textile artist who was instrumental in the development of the Weaving workshop, (originally referred to as the Womens department) at the Bauhaus. She admired and was influenced by Paul Klee and Wassily Kandinsky, both teachers at the Bauhaus.