The whole is greater than the sum of its parts. The relationship between the elements and the body of this work is an interesting one. In this exhibition, the weaving together of tradition, nontraditional materials, and ideas are precise; the aesthetics of object/subject are implicit, playful, and lively.
The Ardent Thread, curated by Cleveland fiber artist, Tony Williams, opened virtually on July 16, 2020, and runs through September 5, 2020, at the Artists Archives of the Western Reserve (AAWR), Cleveland Ohio. The featured artists include Phyllis Brody, Rebecca Cross, Aimee Lee, Cynthia Lockart, Myrya Johnson, Char Norman, Jessica Pinsky, Ron Shelton, and Anne Weissman.
[kopa_blockquote border=”left”]I continue to be amazed at the originality of the textile and fiber artists that surround us in Ohio. Tony did an outstanding job of selecting these artists, which was not easy given that we do have so much quality to choose from here in this state. I am impressed with the way their personal stories and societal concerns intertwine, and yet remain unique. While the work in the exhibition ranges from powerfully expressive, to delicately exquisite, it is all bound succinctly by a passion manifested through the art itself, and adhering to his vision embodied in the title, The Ardent Thread. Mindy Tousley, Executive Director, AAWR[/kopa_blockquote]
Each artist has their agenda, and at the same time, there are common threads (literally and figuratively). One would perceive most of the works as objects, in contrast with “pictures” or “windows.” The latter is a western preoccupation; the former dwells in the realm of symbolism, spiritual conduits, and ritual, though there is undoubtedly overlap amid various cultures, styles, and periods in the history of art. Each of the artists in this group, value their cultural identity and seek to understand how to bring the past and present together in simultaneous expression.
Aimee Lee’s paper sculpture connects her with nature as she transforms materials into imaginative birds, each with its unique spirit. The revitalized ancient art of paper sculpture in contemporary language and symbolism is actualized. The relationship between the viewer and the object is determined by the literal association as well as scale. Drawing with thread and creating a collage that doesn’t restrict itself to paper has enabled Anne Weissman to design tactile surfaces, whose subtle surface movement and slightly irregular picture planes allow us to look both into and at her work. Cynthia Lockhart uses found objects and shaped wall pieces to create textiles that are like relief sculptures and painterly at the same time. The shapes are sometimes flat, but the undulating or patterned surface creates a vibration that energizes the whole wall. With the rectangular format, Phyllis Brody’s designs expand and contract on the surface and push and pull like shards of cubist space. The color temperature and relationship between edge, shape, and line are beautifully resolved in the context of stitchery. Myrya Johnson’s sculptures each have their personality and wide (and wild) range of color texture and pattern. An interesting contrast with Aimee Lee’s sculptures, which have a more stable, quiet presence. Myrya’s work evokes West African textiles and figures. While they have protrusions, they are primarily centered, their outer shapes or silhouettes create a negative space. Like Cynthia Lockhart, the space between the objects seems as essential to our response to them, as the objects themselves. This is also true of Jessica Pinsky’s work, particularly the group resembling twelve hanging flags entitled “Dissection Series 1 -12“; they appear to be in dialogue with each other, the edges of one creating an attractive negative shape on the wall with the edges of another. Here again, texture and pattern merge, and the scale of the object plays a role in our experience of the work.
Perhaps slightly apart from the others in some ways, is Ron Shelton’s use of plastics and apparel design elements give expression to his exuberant imagery within the context of the object. It is a robe, but it is also a collage, patterned, translucent sculpture that creates shadows in and around itself. All in all, this is a delightful and inspiring show that playfully and compellingly weaves together a variety of ideas, traditions, and cultures into an integrated statement about nontraditional methods and materials in the postmodern era.
Artists Archive of the Western Reserve is open Wednesday, Thursday, and Friday from 10:30 am – 4:00 pm; Saturday, 12:00 pm – 4:00 pm.
Featured image: Small Quilt, 2020. Mixed media textile assemblage by Myrya Johnson, USA.
Carol is a New York City-based artist and educator. She is a graduate of the Rhode Island School of Design and her work has been exhibited internationally. She teaches Drawing, Painting, and Art History at several colleges in New York and Pennsylvania, and is represented by the Blue Mountain Gallery in New York City.
Thank you for this article Carol. I believe you got it exactly right.