textile / fiber art

My Handbag

My Handbag

a poem by Shurouk Hammoud

 

Everyday (2018)  Artist: Clara Quintela . Embroidery, 4 m x 3 m - Exhibition at Popup Gallery

Everyday (2018) Artist: Clara Quintela. Embroidery, 4 m x 3 m - Exhibition at Popup Gallery

My handbag is full of caution

Buttons of all sizes

For sudden holes

Needle and black threads

To sew wounds of heart and clothing as well

Empty sanitary bags for vomiting cases that occur to those who live here nowadays

Wet wipes to wipe make up' shredders.

My handbag is full of futility

Polisher for my shoes those expired by long roads

A mobile phone that is full of people 'names I cannot any longer remember

My poor quality glasses

My optometrist prescribed

On the pretext that I do not see beyond my nose

Dry cigarettes and a lighter that staggers genetically

Dried flowers and poems whose papers did not accommodate

Hankies those got tired of farewells

And you ask me why does my back hurt?

Photo source: the author

Photo source: the author

About the author:

 Shurouk Hammod "born in 1982 ", a Syrian poetess, literary translator, BA of arts graduate and a master degree graduate of text translation, Damascus University. She has three published poetry collections in Arabic language and two published poetry collection in English titled: (the night papers),(Blind time), in addition; excerpts of her poetry that have been published in many poetry anthologies in France, Serbia, Netherlands and India. She is a member of Palestinian writers and journalists union and honorary member at NAJI Naaman international library of honorary culture. She is an award winner of many local and international poetry awards, to include: Charles Baudelaire first prize for poetry creativity, 2018; Sylvia Plath medal for writing poetry 2017; Jack Kerouac poetry merit award 2016; Arthur Rimbaud merit diploma for writing poetry, 2015; Nazik al Malieka literary prize for writing poetry 2012; Alexandria public library prize for writing poetry 2012; and Naji Namman international literary prize for writing poetry 2014. She has been appointed as ambassador of the word by the Spanish Foundation Cesar Egido Serrano, in 2016. Her poetry has been translated into French, Finnish, Spanish, Bengali, Mandarin, German, Romanian, Italian and English. Email: shurouk.hammoud82@gmail.com


If you are an artist or author and are interested in applying for a chance to be featured in Envision Arts Magazine, please email envisionartshow@gmail.com, or visit HERE for application details.

Landscape and Nature

“My work often transcends between abstract and figurative. Forms and figures take shape intentionally or by accident.” - the artist

Budapest No. 2, 2017, Acrylic and textile, 20 x 26 inches, $1600

Budapest No. 2, 2017, Acrylic and textile, 20 x 26 inches, $1600

My work in general reflects a strong and powerful relationship to landscape and nature, this includes city-specific landscapes. I am a nomadic artist, I let the country or the town where I set my studio affect my work. The environment and surrounding of this new area, have considerable influence and impact on my production. I let the lieu become my muse.

Brazil No. 1, 2018, handmade paper and textile, 17 x 11 inches, $800

Brazil No. 1, 2018, handmade paper and textile, 17 x 11 inches, $800

I am a multidisciplinary artist, although I have used painting and photography in the last years quite extensively. Textile art is also a media I cherish. My work often transcends between abstract and figurative. Forms and figures take shape intentionally or by accident. However, I find that a less literal and more abstract approach to composition produce paintings or works of art more intensely imaginative. It keeps me further away from esthetical and intellectual decisions.

Budapest No. 1, 2017, Acrylic and textile, 18 x 19 inches, $900

Budapest No. 1, 2017, Acrylic and textile, 18 x 19 inches, $900

With my camera, I collected and collated the textures, colours, shapes and qualities of sceneries in the different artistic residencies I attended and translated what I learned from these different places into materials and making.

Brazil No. 2, 2018, acrylic and textile, 20 x 16 inches, $900

Brazil No. 2, 2018, acrylic and textile, 20 x 16 inches, $900

In this collection, you will find visual research of Budapest’s architecture and Brazil’s Atlantica Forest. Each piece evolves through a process of fragmentation and reconstruction. Patching and layering of fabrics forms a background for stitch; this style of work reflects my interest in collage. I am inspired by the potential of overlaps, intersections and anomalies.

Brazil No. 3, 2018, acrylic and textile, 25 x 16 inches, $1600

Brazil No. 3, 2018, acrylic and textile, 25 x 16 inches, $1600

About the artist:

Anne-Julie Hynes resides in Quebec, Canada. She has a Certificate in Landscape Architecture, from the Université de Montréal, Canada, as well as a BFA in Fine Arts, from Concordia University, in Montreal, Canada. She has participated in numerous arts residencies and exhibitions throughout Canada and in Europe.

To view more work by the artist, please visit www.annejuliehynes.com.


If you are an artist or author and are interested in applying for a chance to be featured in Envision Arts Magazine, please email envisionartshow@gmail.com, or visit HERE for application details.

Resistance

“…we must not normalize our current political situation.” - the artist

The First Flag of Resistance, 2017. Hand embroidery on re-purposed pillowcase, 30 x 19.5 inches. NFS

The First Flag of Resistance, 2017. Hand embroidery on re-purposed pillowcase, 30 x 19.5 inches. NFS

I am a fiber artist working in several areas: temari (embroidered thread balls, a traditional Japanese art); knitting (original designs, wearable art); and embroidery. These three works (one full photo and one detail photo each), using stitched text and simple imagery, are part of a larger collection of resistance artwork I have been making since Inauguration Day 2017.

The First Flag of Resistance, 2017 (detail)

The First Flag of Resistance, 2017 (detail)

This larger body of work comprises the three pieces submitted here plus 100 smaller pieces that have been assembled into two large Cloths of Resistance, plus two more (at this point) Flags of Resistance. A recurring element in many of these works is the phrase "THIS IS NOT NORMAL," which I stitch every day.

Hands Off, 2018. Hand embroidery on antique table linen, 29 x 22.5 inches. $500

Hands Off, 2018. Hand embroidery on antique table linen, 29 x 22.5 inches. $500

This is not to suggest that there is some magical "normal" from which we have deviated and to which we should return, but rather to remind myself on a daily basis that we must not normalize our current political situation.

Hands Off, 2018. (detail)

Hands Off, 2018. (detail)

About the artist:

India Tresselt is a fiber artist from the Champlain Valley in northwestern Vermont. She explores color, pattern, shape, and texture in three different forms: temari (embroidered thread balls, an ancient Japanese art), embroidery, and handknitting. These techniques are all linked by the use of yarn or thread and the slow, detailed, and meditative process of handstitch.

A serious knitter for many years, she has worked in a yarn shop, taught knitting and temari making, and designed patterns for handknits. More recently, she has returned to a childhood pastime—embroidery—to create work that is both personal and political, employing stitched text and simple imagery to comment and reflect on issues affecting our country and our world.

She is a member of Vermont Hand Crafters, Inc., and serves on the Board of Directors of that organization; the Vermont Crafts Council; the Surface Design Association; TAFA: The Textile and Fiber Arts List; and Artizan Made. Her work may be found in Vermont at Grand Isle Artworks, as well as online on her website, Etsy, Facebook, Instagram, and the Made on Monday website. She has exhibited her work at several venues in Vermont, including the Hartness Library at Vermont Technical College and Fletcher Free Library in Burlington, and her resistance artwork has been featured many times in The Nation magazine’s OppArt blog.

To view more work by the artist, please visit www.yarndancevt.com. You may also follow the artist on Facebook at www.facebook.com/Yarndance, as well as Instagram @yarndance.


If you are an artist or author and are interested in applying for a chance to be featured in Envision Arts Magazine, please email envisionartshow@gmail.com, or visit HERE for application details.

Search for Equilibrium

“The process of making and the process of thinking. Repetition as a way to transform.” - the artist

A Point of Balance, 2019, Yarn fabric and glue, approximately 51 x 15 x 15 inches, $400

A Point of Balance, 2019, Yarn fabric and glue, approximately 51 x 15 x 15 inches, $400

It’s all about the process. The process of making and the process of thinking.
Repetition as a way to transform.

I sit for hours crocheting, as a private protest against a stressful society,
or as a meaningless time-killer while waiting for change. A feeling of impuissance.

Will people wake up before it’s too late?

Balance in Between, 2019, Yarn and glue, approximately 61 x 35 x 35 inches, $400

Balance in Between, 2019, Yarn and glue, approximately 61 x 35 x 35 inches, $400

I work with my fears in a slow process, fear for destruction, for the fate of our world, fear for not being good enough. To get stuck, to be seen, to be heard, to be ignored. Fear for insects and fear for death and life. Everything is about fears.

How should one find balance in a rocking sea, 2019, Fabric and glue, approximately 39 x 39 x 39 inches, $400

How should one find balance in a rocking sea, 2019, Fabric and glue, approximately 39 x 39 x 39 inches, $400

I’m a slime who transforms when being touched or seen.
I’m the sum of everybody I’ve met, everybody leaves a trace.
I’m a collector. I collect traces of lived life, lint, hair and words.
My reality and my spineless character as an artistic idea. I, who have buy two ice creams because I can’t choose, have to follow my intuition to be able to take any decisions at all.

I Was Born a Libra, 2018, Yarn fabric and glue, approximately 20 x 38 x 15 inches, $400

I Was Born a Libra, 2018, Yarn fabric and glue, approximately 20 x 38 x 15 inches, $400

For the intuition to work, a certain speed is necessary, if it takes too long, if too many translations occurs, the idea loses its meaning.

Listen to Yourself, the Nature and the Surroundings, 2019, Yarn, fabric and glue, approximately 94 x 45 x 45 inches, NFS

Listen to Yourself, the Nature and the Surroundings, 2019, Yarn, fabric and glue, approximately 94 x 45 x 45 inches, NFS

My practice is in constant change. I re-use ideas and materials.
I started out as a painter, but because I’m a dutiful productive girl from a left wing working class home, I had to do something while waiting for my paintings to dry. I started to crochet frames for paintings and knit pictures. Slowly the textile material and technique had taken over, and become the main material I’m using.

Search for Equilibrium, 2018, Yarn  fabric and glue, approximately 34 x 25 x 25 inches, $400

Search for Equilibrium, 2018, Yarn fabric and glue, approximately 34 x 25 x 25 inches, $400

I work mainly with textile. For this project I have crocheted and sewn forms, which I have glued with skin glue (the kind of glue you prepare your canvases with.) and balanced on top of each other. I call the project a Search for Equilibrium.

To view more work by the artist, please visit majasjostrom.com. You may also follow the artist on Facebook at www.facebook.com/maja.sjostrom.7.


If you are an artist or author and are interested in applying for a chance to be featured in Envision Arts Magazine, please email envisionartshow@gmail.com, or visit HERE for application details.

A Sort of Singularity

“To quote Jane McKeating, ‘Color drips off the needle every bit as richly as that from a brush’.” - the artist

Duality I, 2018, 18 h x 12 w, $330

Duality I, 2018, 18 h x 12 w, $330

I am a multidisciplinary artist, with a 50 year career,  who combines a mixed media practice with embroidery across digital and manual platforms. Everything in our culture tends toward hurry.  This work is about slowing down.

At the heart of the current process is digital embroidery, designing in the computer and stitching out on a computer-aided machine. This is not new. It has been used in the fashion industry and the promotions markets for many years. Digital machine embroidery is not a substitute for, nor a speedier version of, nor an imitator of handwork. It is a mindset and a media choice in and of itself.

Semaphore, 2019, 51" h x 57" w x 3" d, $1200

Semaphore, 2019, 51" h x 57" w x 3" d, $1200

A single stitch is made by stretching a thread between two holes. The line formed by it can be loose or tight. It can be thick or thin, depending on the diameter of the thread. It can be long or so short that it barely exists. But, it can never exist as more than a single defined geometric event, a sort of singularity. The combinations of these singularities create planes, lines, forms, and geometrical space.

Intersecting Torus II, 2018, 10.5 h x 15 w, $300

Intersecting Torus II, 2018, 10.5 h x 15 w, $300

For several years, starting with the support of a Jerome Foundation Project Grant for Textile Art in 2014, my intense media focus has been on digitizing for machine embroidery.  There is an assumption that the machine dictates the outcome, doing all the work for you.   The computer and the embroidery machines are the tools that allow me to produce my vision.  To quote Jane McKeating. "Color drips off the needle every bit as richly as that from a brush."

Fraternal Dualities, 2018, 23 h x 22 w, $650

Fraternal Dualities, 2018, 23 h x 22 w, $650

The process is highly technical, using several software packages that can only be described as a non‑intuitive cross between Photoshop and Illustrator. Creating digital embroidery is limited by the geometry and the capability of both the machine and the materials. Needle and thread have real dimension and stitches can only be straight, joined together to suggest curves and forms.

Digital embroidery lends itself to hard edge geometry as well as biomorphic form.  The combination of high tech with "women's work" provides a delicious contrast of hard/soft, nostalgic/current, objective/non-objective. It also lends itself to modular repetition and re-combinations. Themes can be played out quickly in the computer and then stitched and sampled oh so slowly on the machine; combined with and without mixed media in a wide-ranging exploration of forms in space.  

Horizon, 2019, 2 h x 8 w x 4 d, $4000

Horizon, 2019, 2 h x 8 w x 4 d, $4000

In this chaotic time, digital textiles seem like a way to begin to bring order to the world. Order is, however, always unstable, a glimmer of a hope, cut off by random acts of chance or intent. It is no different in digital embroidery.  In the computer, all things seem orderly, put together, and logical... as though the human propensity for chaos did not exist.  In the production, chance operates: human error, flawed thread, broken needles, run out bobbins, high humidity, low humidity, fabric popping out of hoops and the panicked phone call from a friend.  Repair savvy, canny attention and a spirit of wabi sabi is essential.

Cushion Torus-Universe, 2018, 17 h x 18 w, NFS

Cushion Torus-Universe, 2018, 17 h x 18 w, NFS

About the artist:

[Susan Hensel] is a multidisciplinary artists who works across manual and digital media with a special focus on digital embroidery. To view more work by the artist, please visit susanhenselprojects.com. You may also following the artist on Instagram @susan_hensel_multimedia_artist.


If you are an artist or author and are interested in applying for a chance to be featured in Envision Arts Magazine, please email envisionartshow@gmail.com, or visit HERE for application details.