Traditional Shibori Techniques In Michelle Griffiths's My Art Work

Once we arrived, we looked up possible exhibitions that we could attend. A museum employee recommended African textiles. After hearing the title, I immediately expected this exhibition to have complicated and precise components to the tiles. African textiles are, in fact, made of wool or fine animal hair in a weave patterns. Although the exhibit was interesting, it wasn’t what peaked my interest.

Contemporary art has a long history of appropriating material into new work such as Duchamp’s ready-mades where he recontexualizes found source material, the photo collages of Hannah Hoch and today’s remix culture. In Remixthebook, Mark Amerika (2011) argues that in Postproduction art, “the artist takes what has already been produced in culture and, through creative postproduction means, expresses a new cultural configuration that both speaks to contemporary culture as well as the source material that has been remixed”. Traditional crafts such as patchwork and quilt making have also contained ideas of transformation of old collected materials into new forms. By the frugally collecting and repurposing of these waste materials, Gower critiques

Bethan Gray is an award winning Welsh designer that has an unusual but impressive family origin. Her ancestors originate from an ancient Rajasthani clan that spent many hundreds of years journeying across Arabia and Persia before choosing to remain in the Celtic region of Wales. This very heritage wove its way into being some of Bethan Grays’s main influences and inspirations, which pull ideas shown within craft traditions of both the East and West. These influences are reflected in Gray’s style, showing a clear passion of detail, tactile textures, and extravagant materials such as rare stones, wood, marble and hand-tooled leather. Complex but complementary patterns of dark and light, texture and clear attention shown to the detail that defines her highly unique style. Even while using blacks and whites, Gray is also not afraid

Joy Brown is an internationally known artist. She was born in the United States but grew up in Japan with her medical missionary parents. Then she came back to America for college, graduated from Florida’s Eckerd College and later returned to Japan to learn the ways of pottery. She did an apprenticeship in traditional Japanese wood fire ceramics. Brown has worked with clay and wood firing for over 40 years. And for 18 years she has worked with bronze. She has exhibited in galleries and museums in the United States, Europe, and Asia. In 1998, she co-funded Still-Mountain Center; it’s a nonprofit arts organization that fosters East-West artistic exchange.

Gabrielle Zevin; author of Elsewhere has brilliant use of craft moves throughout her writing. She uses craft moves like flashbacks, foreshadowing, and sentence variety. These 3 craft moves are applied throughout all 34 chapters and 275 pages. The way Gabrielle Zevin uses flashbacks, foreshadowing, and sentence variety makes the story so interesting. The way she uses all three of these craft moves together make the book a page turner.

physically and mentally, quilting has acted as an art that transcends racial barriers and to bring

Through there body language we are able to infer their mood and how they are feeling Technqiues and mediums Gone: An Historical Romance of a Civil War as It Occurred b'tween the Dusky Thighs of One Young Negress and Her Heart is a black cut-out silhouettes of caricatures A caricature can be defined as rendered and condesened revealing the features of the subject or idea that has been exaggaerted and is shown in a basic way. SHilouette is a an art form that has been used and devlopeed for many centuries, different technqiues are painting what appears in the shadow to create the shilouette feeling, or by cutting paper by hand and eye, this is far more challenging. Artists today have the ablility to draw and are able to see the shadow and form of the object, without the use of a projector or light, Walker as she is a well trained artist may have experimented with this technique of creating a shilouette through drawing. Walker identifies her shilouettes as a metaphor for the sterotype present in the work, this is interpreted from simple

Nicole utilizes a variety of themes and materials in her artworks. Her mandalas come to life on rough hemp canvases where the color gets absorbed by the thirsty texture. As the fibers need to be fed again and again, the mandala motifs arise shyly to the surface. The traditional method of making mandalas through the patient and repetitive movement of the hand dropping sand on a surface is mirrored in Nicole’s approach to constructing her mandalas, with an evident connection to meditation.

Michelle Lougee is a very famous environmental artist, sculptor, and ceramist. She is a member of the Boston Sculptors Gallery, and her artwork has been shown in many New England museum exhibits. She also teaches sculpture, ceramics, pottery, and drawing to adults and children at various local museums. She holds an M.F.A and a B.F.A. from Boston University and lives in Cambridge, Massachusetts. Her work focuses on the delicate balance between nature versus human society and technology. The contrast of this relationship is explored in both materials and subject matter. The combination of the two factions produce mysterious yet familiar forms. Michelle Lougee strives to replicate the animated quality that all living things possess. She believes that her job as an environmental artist is “to capture that beauty in my work while instilling a message into it.” Michelle Lougee uses a wide variety of naturally found materials from the environment. These materials are very banal. They include clay, papyrus, paper, cloth, plastic, post-consumer grocery bags, and plastic bags. Michelle Lougee’s signature material is the plastic bags as they are symbolic of the harmfulness brought to our environment. You can see her thorough incorporation of plastic bags in her Gyre

In this book Kiki Smith’s background is shared and broken down for the viewers to learn a different side of the artist. Allowing the readers to learn about her family and how both of her parents were also artist as well. The book also explains her work and why she chooses to reflect on the topics she created her art based

Lee Bontecou is most famously known for her extraordinary sculptures and drawings. Almost all of her works remain untitled; she leaves that up to the audience to interpret. The sculpture that is displayed in the Museum of Modern Art (MoMA) is untitled and was created in the year nineteen sixty-one. Lee Bonteou’s medium is very specific. Her style is very industrial she is big on welding and using raw materials such as canvas, copper wire, rawhide, and soot. The Artist was born in nineteen thirty-one in Rhode Island and grew up in a time were there was a lot of tension and war. She was very aware of what was going on in the United Stares as well as other countries around the world. The year she

Over the years, I have flirted with visual art. It started with pencil drawing, continued as an affair with marker illustration, then a dalliance with lettering, and I now have a relationship with photography. However, my favorite art will never be displayed in museums or galleries. It is not static and immutable. Rather, my chosen medium is fluid, living, volatile. No matter how well rehearsed, it will never be the same again. That’s the beauty of performance art.

A Persian Rug in Manhattan has timeless appeal. Some of the floor coverings are considered masterpieces of craft work, with intricate patterns and an astonishing array of colors. They are known for complex designs with visual impact ranging from serene to powerful. The skill, technique and talent of those who have created these carpets is the subject of ongoing study in historical and other research circles.

Her current studio practice focuses on works that explore her interests in mark making as it relates to a pattern, drawing and personal expression. Stinson works ranges from the functional to sculptural. Each format is a way for her to engage the viewer on different and multiple levels. Stinson also utilizes multiple methods of making, throwing, slip casting, and press molding, to attain a variety of effects and unique characteristics in the finished work. These process and surfaces help to develop the underlining content in the finished pieces.

From painting and drawing, light projection and written text, to her signature cut-paper silhouette installations, video and performances. Use this section to explore her processes.