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Fiberarts - Spring 2011
Spring 2011

 
Fiberarts - Spring 2011
 
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Contents
More Yarn-as-Art Creations by:
Karen Barnaby
Laura Mayotte
Linda Scharf
Janis Thompson
The making of the fiber-optic tapestry 50 Different Minds by Nora Ligorano and Marshall Reese
Fiber-friendly craft schools list
More work from our Emerging Artists Showcase
Updated exhibition and competition listings
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Emerging Artists Showcase:
Innovative Knitting and Weaving

by Mollie Baker

[The Emerging Artists Showcase section of our Spring 2011 issue (on page 26) features intriguing approaches to create knitted sculptural objects and handwoven wall hangings. Here we share additional work by these artists.]

Rhode Island–based artist Tatyana Yanishevsky could be described as a modern-day Renaissance woman, blending interests in science and art to cultivate her knitted creations. In the recent series, Rupture, botanically inspired forms appear to grow from walls and drip life onto the floor. Pollen covered anthers are replaced with twists of “yarn blood”; glossy petals and leaves are transformed by soft bouclé surfaces. Lit from within to highlight the translucence of their knitted corollas, discreetly placed pull chords invite viewers to turn their lights off and on. This sense of strange familiarity coaxes viewers into another world. www.knitplants.com.

 

Above: Tatyana Yanishevsky, Love Muffin (with detail), 2010; yarn, LEDs, pull-cord, steel; handknit; 40" x 19" x 8". Photo: Karen Philippi.

 

Above: Tatyana Yanishevsky, Parasitic Fish (with detail), 2010; yarn; handknit; 54" x 19" x 13". Photo: Karen Philippi.


At first glance, the weavings of John Paul Morabito appear simple and minimalistic. Further inspection, however, reveals the meticulous and beautifully subtle nature of the work. The artist weaves each piece by hand and then carefully burns patterns of tiny holes along its length. Morabito’s interest lies in the constant opposites in human life: construction and destruction, life and death, and the need to engage in both. Rather than see the singeing of his surfaces as destructive or violent, he considers it a meditative act. “The holes are not burned quickly with ravaging flames,” Morabito explains. “Instead each hole is made individually and slowly to create a contemplation of each moment that has been burnt away.” www.johnpaulmorabito.com.

 

Above: John Paul Morabito, Tonal Warp Stripe (with detail), 2010; linen, ramie (China Grass); woven, burned; 96" x 27" x 23". Photo: D. James Dee.

 

Above: John Paul Morabito, Warp Stripe Symmetry (with detail), 2010; linen, pine paper; woven, burned; 92" x 54½". Photo: Nick Ghiz.

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