I seek to capture the ephemeral in a series of large-scale weavings that examine relationships between public and private, real and artificial, the mundane and the extraordinary.
I use mug shots as a device because they represent a perfect juncture between conflict and resolution. I assume the role of the accused in all the compositions. Rather than present the images as photographs I transform them into weavings. The zeros and ones that make up a digital image file become a code which translates as the over and under of warp and weft and embeds the image in the finished cloth. Matte yarn is used for the warp, shiny wire is used for the weft, transforming darks and lights in to rich tactile surfaces. The resulting image appears and disappears depending on the viewer's perspective.
The viewer is required to physically interact with the artwork in order to see the portrait, creating a dynamic between him and the person pictured. The image slips away as the viewer steps closer, shifting the viewer's focus to other aspects of the work, and as he circles the art work to recapture the portrait there is time for layers of information to be read. The luxurious weavings are enigmatic and inspire a sense of wonder. Content, materials, and form combine to create a moment where the viewer is taken out of the expected, suspending a fleeting exchange in time and resulting in an experience rather than just a viewing.
|Commitee:||Browne, Kathleen, Loderstedt, Michael|
|School:||Kent State University|
|School Location:||United States -- Ohio|
|Source:||MAI 52/06M(E), Masters Abstracts International|
|Subjects:||Fine arts, Design|
|Keywords:||Ephemeral, Mug shot, Original artwork, Photography, Self-portrait, Textiles, Weaving, Weavings|
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