Lisa Call

Markings #14    ©2007    35"x37"

 
One time consuming aspect of being an exhibiting artist is the need to supply an artist statement explaining the artwork. While I’ve heard many artists bristle at the need to write/supply such a statement I have learned to enjoy the process. I figure this is yet another chance for me to engage the viewer.

Spending 2, almost 3, years writing about my work on this blog I’ve found it much easier to write an artist statement. Writing is definitely a learned art that I’m just beginning to understand, but I’m better than I was 3 years ago. I consider these to be some of the biggest pluses of blogging: both the writing skills and the better understanding I have of why I make the work I make.

I’ve been exploring my Markings series for 2+ years and have only exhibited work from this series 2 or 3 times so I’ve managed to avoid the need for a specific artist statement.

Until now.

One of the juried shows I entered asked for one, and they wanted it asap for the show catalog they are printing. So last night I sat down and pulled together my thoughts on the series and came up with the following as my first pass, which I emailed to the organizer last night.

Studying the effect of closely spaced parallel lines, known as cross hatching, in my abstract pencil drawings led me to experiment with drawing lines with fabric. Looking to capture the beauty and quality of a hand drawn line in a different medium, the work is a translation of basic mark making into textiles. The Markings series investigates both straight and lyrical lines, both tightly spaced and with a more open figure ground relationship.

The works in this series evoke the comfort humans derive from repetition, a well known pattern. They also raise the question of how we handle the unexpected, a break in the pattern. Disruption is often inevitable, no longer making it unexpected but part of the pattern itself.

Color is of primary importance and is combined, intuitively, in unexpected ways, employing a unique palette of cotton fabrics I hand dye. Extensive stitching adds rich texture to the work by echoing the composition underneath or by creating a complimentary secondary pattern on the surface.

It can take weeks or months to make a single textile construction, as the individual elements in the composition are freehand cut, one at a time, without a pattern. They are then placed onto a flannel-covered studio wall, where I work improvisationally, planning as I construct. The design continues to mature as the lines and shapes are manipulated to be fit together.

 
I will be having a solo show of this work in February and will revisit this hastily written text beforehand but it’s a start.

I’m thinking about including some of my drawings in that show also, I just need to figure out how to frame or otherwise present the work on paper. I never frame/mount/etc my textile art so this is a new scary area for me, as in I don’t have a clue how to approach it and it sounds expensive. I should find out if they will let me just pin the paper to the wall, not likely given their wire/hook hanging system but I should at least ask.

These are the drawings that inspired the Markings series:

Plains #4    ©2006      11" x 8"

 
Also see Plains #5, Plains #3, Plains #2, and Plains #1

 
The work at the top of this post, Markings #14, was completed earlier this year. I have to admit it did not photograph well, not sure why, I’ve tried a few times and it still looks dull and out of focus (the raw image is in focus) - I couldn’t figure out how to fix it. Maybe it’s the contrasting colors of the stitching, or the vibrant colors next to each other. Or more likely my complete lack of photography skills. It looks much better in person.

This detail shot captures it’s true colors: