two-part figure: text/subtext #1 - ulster institutional...

InstallationOutdoors Indoor Gallery

Ground FloorIndoors GalleryBasement

NOTES Labelled on PLANS

Cairns C

Cashman D

Freve

Darker space with directed light

Requires old wooden Table. A small room not possible but she wants to appeal table was already there in an a intimate space.

E

McDougall F

Morin May need a plinth

G

Nillson H

O Neill Requires electrical wiringRequires 120w light bulbs

B

Paquet I

Parent A

Jill Phillips and Derek Wilson

Requires Table J

Pierre And Marie

must be close to 110 volt electrical access

K

Warner Keene If th hanging in opposite walls within gallery is too crushed please hange the ‘Cypher’ frmed pieses on wall towards door

L

Installation Plan 1

Stuart CairnsRequires Wall 150 cm wide

1. Silver, linen thread, metal found objects and blackthorn.2. Silver, linen sheet scrap, and needle.3. Flax, bamboo, silver wire and linen thread.4. Nail, drift wood, linen thread.5. Nail, found string, thorn, spun linen thread.6. Silver, found fishing line and eucalyptus bark.7. Rusted barbed wire and shoelace.8. Type writer keys and silver.9. Steel pins, drill bits and small hand drill.

Installation Instructions –Stuart Cairns

The pieces are to be set at head height –approximately 160cm high. The pieces are to be set out across 150 cm wall space. The first piece sits 10cm in, the stiletto pieces are then spaced out with 15cm between them [approximately], then there is a gap of 25 cm, then the little shears, then 20cm them the box with thorns. All pieces are to be hung off the enclosed steel pins/hooks. First drill the relevant holes, then push the hole into the hole with the piece attached. A small drop of glue will be required on the end of the hook to fix it to the wall. The shears and box may be attached after the hooks have been glued in place. Spare hooks and 3 drill bits [with 1.2 mm gauge] have been included as well as a small hand drill in case the drill bits are too fiddly for a power drill. I recommend using a power drill for the holes. The stiletto pieces are to be laid out in the sequence shown below-

The overall layout for the piece is shown in the picture below, together with a detail of how each piece is attached to the wall.

Name Stuart CairnsAddress 111 Ogilvie Street, Belfast, Bt6 8nhE-Mail [email protected] www.stuartcairns.com100 Word Biography

Stuart Cairns works as a silversmith in County Down, Northern Ireland combining natural materials and found objects alongside precious metals to create artefacts in the tradition of tableware and jewellery. Stuart studied silversmithing and Jewellery in the University of Ulster, graduating in 2000. In 2004 he returned to college completing his Masters degree in 2006, winning the Association of British Designer Silversmith’s award for new work in silver at the New Designers fair in London . Since then Stuart has particated in numerous group exhibitions, including Side X Side in Finland, Ignition in the Ormeau Baths Gallery , Belfast and Ten in Birmingham.

100 word description of your intended exhibit.

A collection of objects based upon the hand tools utilized in working in the Linen industry. These are to be seen in series and will use a variety of found and fabricated objects, combining the precious with the non precious- for example found wood and forged silver elements. The pieces themselves will be created using a variety of hand techniques –further highlighting the human interaction within the industry. Linen thread will be employed in tying and binding the pieces together. The variation in materials used and construction methods employed reflect the different environments which supported the linen industry.

Title of exhibit What was carried, what was found.Approximate The individual pieces will vary in dimension but no larger than 25cm X 25cm X

Installation Plan 2

dimensions 25cm. The series will stretch across a length of 1.5 meters . Either in a single series or a prgression of grouped forms.

Materials / medium

Silver, gold, wood, linen thread, natural materials and found objects.

Methods, processes.

Forging, pinning, binding, stitching , carving and metal fabrication.,,,,,,

Estimate £1200 Dimensions packed work

57x39x28 cm

Estimate Weight packed

2kg approx

Description of work /body of work.

6-9 individual pieces of varying sizes and shape to be either laid out in single series or consecutive groups [dependant on space] – the layout will be specified through accompanying photographs which will be packed with the work. Depending on space available they can either be on plinths or hung on a wall space at the curators discretion.

Are you intending to go to going to the opening afternoon 25th June? Dates of travel /route.

NO

Installation Plan 3

Martha Cashman

Raku set

Porcelain Pieces

'Our Jacks' Carved Red Brick clay and Carved Oak credit image to: Roland Paschhoff

Name Martha CashmanAddress 50 Easons Ave, Off Shandon St, Cork, IrelandE-Mail [email protected] www.marthacashman.com100 Word Biography

After working as an interior decorator for many years in Boston, Irish sculptor Martha Cashman returned to live and study in Cork. Where she received a BA Hons in Ceramic Design at Crawford College of Art Cork . Her works has won several awards and is held in the Art Archieve Collection at University College Cork and other private collections. Her unique pieces are based on working utensils made in a mixed media of paper porcelain, woven wire, carved Irish wood. Taking influences from her rural background and the close associations of her family to the seasons, her father was a market gardener, her mother a baker, her uncle the last blacksmith to work in the medieval town of Youghal, East Cork. Her series of porcelain sculptures pay homage to the understanding held by a local community that led her to appreciate and respect the earth we take from daily. The pieces record the teachings and the traditional rural style of living in Ireland.


Both sides of my family emigrated over several generations this led me to consider the effect of the “Diasporic Space” and I questioned how migration changed the role of my elders and their influence on me. I was drawn to the idea of travelling and lived abroad for several years, this has persuaded me to address the ‘truth’ of my identity and my culture. My recent work pays homage to the teachers of my past and lost Irish traditions, I create decorative tools which represent the toil of the rural worker. Old embroidered linen and lace made by my ancestors has held its pride of place in my home I have used some pieces to embellish my work in a way to embed the art work of the past into my pieces. As far back as 1750 Youghal my home town has been associated with weaving linen and I can only wonder if my family had not emigrated would this tradition have been passed on.

Title of intended exhibit

WOMANAGH (the name of the river near my home in East Cork crossed daily to reach the town of Youghal)

Approximate dimensions

Dimensions of work description of approximate dimensions of installation 1. Set of 4Raku pieces each Length 75cm x 18cm to 20cm, hung on wall 7cm between each piece at eye level2. 5 Pieces Paperporcelain each Length Approx 86cm X 17cm, hung at eye levelSets of Two 7cm between each, 20cm to the right Set of three 7cm between each3. Set of 3 carved clay ,carved oak handles each Length Approx 120cm Width 18 cm one sitting on the other on a plinth

Materials / medium

1.Raku fired ceramics and drift wood. 2. Textured Paper porcelain and driftwood, 3. Carved red clay and carved oak.

Methods, processes.

Raku fired tools with driftwood , Paper porcelain textured with embroidered linen and fired several times to achieve colourfull lustre glazes with drift wood handles attached, Carved red clay brick with hand carved oak wood,

Packed dimension

Package 1: 310mm x 370mm x 1400mm, 18.16KgPackage 2: 370mm x 650mm x 1120mm, 8.8kg

Are you intending to go to going to

Maybe

Installation Plan 4

http://www.marthacashman.com/

the opening afternoon 25th

June? Dates of travel /route.

1Set of four Rakued pieces with stained and waxed driftwood

Set of five paper porcelain pieces with limed and painted driftwood handles

Set of three 120cm x 18cm Red carved clay glazed with polished carved oak handles

Sculptor Martha Cashman Raku Tool with drift wood handle 120cm x 22cm

Dimensions packed work

Package 1: 310mm x 370mm x 1400mm, 18.16KgPackage 2: 370mm x 650mm x 1120mm, 8.8kg

Estimate packed Weight

1. RAKU TOOL COLLECTION(4) Tools in various lengths with drift woodLength 75cm x 18cm to 20cmTotal Weight 2kgBubble wrap in Box

2. PAPER PORCELAIN TOOLS(5)Tools in various lenghts with driftwoodLength Approx 86cm X 17cmWeight total 2kg

Installation Plan 5

Bubble wrapped in Box

3.SET OF THREE TOOLS Carved wood and Carved clayLength 120cm Width 18 cm Weight 7.5 kgBubble wrap in Box

Description of work /body of work. This will inform the curation and location of your work. The mill includes external space

1.RAKU FIRED TOOL COLLECTION of 4 with DRIFT WOOD HANDLES, hung at eye level vertically on white walls, 6cm apart, lit from above.

2. COLLECTION OF 5 TEXTURED PAPER PORCEALIN TOOLS with DRIFTWOOD HANDLES, Hung in sets of two and three on a white wall, 7cm distance from each other and 12 cm in between two sets, hung at eye level, lit from the front.

3. SET OF 3 CARVED RED BRICK CLAY TOOLS with CARVED OAK HANDLES On a large plinth 45cm high x 165cm x 100cm INDOORS

OR Outdoors placed in a group on metal stands provided set into the grass, Paper Porcelain not advised outside. Please bring in at night or in very heavy or prolonged rain.

Work has been Insured for E2500Shipping to Belfast: €228Insurance: €43 TOTAL: €271

Installation Plan 6

Carole Frève 6 April e mail- Visuellement ma pièce sera comme des bouteilles déposées sur une nappe.C'est pourquoi j'aimerais bien que mon "socle" soit une vieille table decuisine en bois si c'est possible. Je peux adapter ma pièce à la grandeurde la table. Pour l'instant les dimensions sont de 140cm x 60cm. Aussij'aimerais, si c'est possible, que cette pièce soit exposée dans unepetite chambre comme si la table avait toujours été là.My piece is visually like bottles placed on a tablecloth.That is why I wish my "base" is an old tablewooden kitchen if possible. I can adapt my play to greatnessthe table. For now, the dimensions are 140cm x 60cm. AlsoI would like, if possible, that this piece is exposed in asmall room as if the table had always been there.

8 Feb e mail My idea is still evolving but for now it seems it will be an installationof pieces on a flat surface (can be a wood table) about 2'6" by 5'. Iwould prefer to have the set up in a dark place to be able to create adramatic lighting. We need to be able to have access to both ends and atleast one side.

Name Carole FrèveAddress 36, rue Queen, # 304

Montréal, Qc, H3C 2N5E-Mail [email protected] www.carolefreve.com100 Word Biography

100 Biographie Word

Après avoir obtenu un baccalauréat en design industriel en 1992, Carole Frève poursuit ses études au Centre des métiers du verre et obtient son diplôme en 1996. Depuis, ses œuvres sont régulièrement exposées aux prestigieux SOFA de Chicago et Santa Fe ainsi que dans plusieurs galeries nord-américaines. Elle a obtenu des bourses du Conseil des arts du Canada et du Conseil des arts et des Lettres du Québec en recherche et création. En 2000 elle a fait une résidence d’artiste au Creative Glass Center of America et en 2009 au North Lands Glass Creative en Écosse. Actuellement, Carole Frève vit et travaille à Montréal.


.

Mes œuvres sont de nature nostalgique. Elles évoquent le passage du temps, les souvenirs qui deviennent flous, la réalité qui se déforme. Je me plais à revisiter l’histoire pour faire ressurgir les événements heureux et tristes qui ont laissé une trace dans notre mémoire collective. Verre et lin. Ces matières nobles sont déjà porteuses d’histoire; preuves sensibles de la transmission des connaissances à –travers les générations et les peuples. Elles viennent ici raconter la force de l’espoir et des rêves qui a fait traverser l’océan à des milliers d’irlandais. Ils ont amené avec eux tout un bagage culturel qui est venu enrichir une province en plein essor.

Title D’Irlande à GriffintownThose who crossed the Ocean


Hauteur :35cmLongueur : 140cmLargeur : 60cm

Materials / medium

Verre, cuivre, lin, sel

Methods, processes.

Verre soufflé, cuivre électroplaqué, lin cousu et brodé à la main, transfert d’image et/ou sérigraphie. (Lin rigidifié par du sel)


2 boxes of about 20 "x 18 "x16 ".

Estimate Weight of work

Installation Plan 7

packed Value for Insurance purposes

$ 3 000,00 CAN

Description of work /body of work. espace extérieur

Nombre de pièces. Méthode d'installation ou de positionnement. Les exigences techniques

Approximatif:

Environ 20 éléments de verre et de lin en forme de bouteille.La hauteur de ces “bouteilles” va varier entre 4cm et 35 cm.Ces elements vont être disposes sur un grand tissus de lin brodéSemblable à une nappe (140cm x 60cm)

J’aimerais que ma pièce soit disposer sur une vieille table de bois.Je peux ajuster la longeur de ma pièce selon la table.On m’a dit qu’il y avait de petites chambres au rez-de-chaussé. Je pense que ça pourrait être beau d’installer cette table avec ma pièce dessus dans une chambre tel une table qui aurait toujours été là.


Yes. By Bus

Installation Plan 8

Lyndsey McDougall

15 meters of embroidered and printed fabric, linen. 5 spoolsScrewsWall mountsDress makers pins

Installation instructionsI have designed this piece so that is can be displayed in a variety of wall spaces, and should be considered site specific. Each spool contains around 3meters of fabric, all of which can be unravelled and displayed or parts of which can be unravelled and displayed. All the work on the spools does not necessarily need to be shown, ie unravelled. I have enclosed metal holders that screw into the wall, spools sit on top of this and fabric is pulled to the right-hand side and pinned to wall with dress makers pins. Fabric should sit out from wall on pins (see image sent) Enclosed with the work- a few images/drawings and I hope these are helpful. Any questions email [email protected]

Name Lyndsey McDouagllAddress 2a Churchview, Ballyeasborough, Portavogie, BT22 1DBE-Mail [email protected] http://www.acompleteencyclopediaofthings.com100 Word Biography

Lyndsey McDougall is an installation artist committed to collecting and finding ways to organise transient information and objects. Her installations often deal with the architectural structure of a building and its historical significance. The subject is often ephemeral, yet the details of her installations are adorned with hand embroidery, consequently challenging its significance. She is fascinated by the patterns of behaviour that evolved during the height of the Linen industry in Belfast and how they were influenced by other cultures. She investigates the progression and transfer of tacit information and how this compares to the current age of digital communication looking at how tools like the internet influence the global culture of craft.


This installation displays a collection of information about the Linen industry in Belfast. Imagery has been developed from discussions with people who worked in the linen industry during the 1930’s and from ordnance survey maps of Belfast dating back as far as 1900. The time consuming nature of hand embroidery echo’s the mundane repetitive jobs associated with the mill. Etchings have also been developed and printed repeatedly onto the linen addressing the daily patterns and journeys of the mill workers through the streets of Belfast. The correlation between this historical industry and the installation is addressed through the display and placement of the collection in response to the historical space of the gallery.

Installation Plan 9

http://www.acompleteencyclopediaofthings.com/

mailto:[email protected]

mailto:[email protected]

Title of exhibit A Collection of Working Patterns Approximate dimensions

approximate dimensions of installation need roughly 3 m length of wall but can be fitted into any space easily as it comes in small parts.

Materials / medium

Linen fabric, Linen thread, silk thread, cotton thread, wool, industrial wooden spools, Domestic wooden spools and metal spool holders.

Methods, processes.

Dry point etching, various hand embroidery techniques including crewel work, cross stitch, Machine embroidery.

Image 300 dpi digital image of the artwork (if it already exists) and /or an image of similar work and/ or an image or close up of a detail and / or an image of a sketch, model or digital representation of the planned works. If you do not have the new work completed please send images as soon as you have them.

Dimensions of the work packed

The installation is made up of parts that can be easily transported in a box approx 500x300x274mm


2.5 KG

Value for Insurance purposes

£1500


Number of pieces. Method of installation or positioning. Technical requirements

7 wooden industrial spools wrapped in lengths of linen, size of spools range from 4cm to 20cm. Each spool will come with a metal holder that can be attached to gallery wall with a nail.

Lengths of embroidered and printed linen is attached to each spool. Spools can be attached to wall and lengths of linen fall to floor. lengths of linen are around 3 meters long. The metal holders should allow for the linen to be wound back and forth on the spool and audience interaction should be encouraged.


Yes. ACNI grant for airfare

I may get over to gallery a few days before the opening to help with installation. I will send images of work being displayed in a different space as this may help with installation.

Installation Plan 10

Marie-Claude Morin

Name Marie-Claude MorinAddress 6824 Iberville, Montréal

H2G 2C8E-Mail [email protected]

[email protected] www.marie-claudemorin.com100 Word Biography

Diplômée de l’École de Joaillerie de Québec en 2000, Marie-Claude

Morin a, dès la fin de ses études, su développer une facture particulière à mi-

chemin entre le figuratif et l’abstraction. Afin de nourrir son univers de

création, elle a suivi plus d’une dizaine de formations continues dans le

domaine du théâtre de marionnettes ainsi que dans le domaine de la

sculpture. Ses recherches lui permettent, encore aujourd’hui, d’actualiser son

style reconnaissable tant dans ses bijoux que dans ses sculptures miniatures.

Ses oeuvres ont été présentés dans diverses expositions à travers le monde

(Canada, France, Espagne, Belgique, Corée). Récipiendaire de plusieurs

bourses et de prix prestigieux tel le prix Jean-Marie Gauvreau en 2008 au

Salon des Métiers d’Art de Montréal pour l’ensemble de son oeuvre, le travail

de Marie-Claude Morin est reconnu pour sa finesse d’exécution et sa

richesse symbolique. En plus de créer, Marie-Claude Morin a également

enseigné la joaillerie pendant plusieurs années.

Google translate - Graduate School of Jewellery from Quebec in 2000,

Marie-Claude Morin, upon graduation, able to develop a particular invoice

halfway between figuration and abstraction. To feed this creative world, she

took more than a dozen training courses in the field of puppet theater and in

the field of sculpture. Her research permitted, even today, to update her

recognizable style both in her jewelry in her miniature sculptures. Her works

have been presented in various exhibitions around the world (Canada,

France, Spain, Belgium, Korea). Recipient of several prestigious awards and

prizes as the Prix Jean-Marie Gauvreau in 2008 at the Salon des Metiers

d'Art in Montreal for her body of work, the work of Marie-Claude Morin is

known for its quality workmanship and its symbolic richness. In addition to

creating, Marie-Claude Morin also taught jewelry for several years.

Statement for the promotional

Lorsque le domaine de la joaillerie se détache de son contexte

traditionnel, il permet la création d'objets qui dépassent la simple fonction

d'apparat. Joaillière depuis plusieurs années, Marie-Claude Morin a su

développer un savoir-faire quant aux techniques issues de ce métier et

tranquillement les investir dans de petites oeuvres d'ambiance. Que ce soit

des bijoux, des tableaux sculpturaux ou des scénographies miniatures, ces

oeuvres ont comme mission d'amener les spectateurs dans des univers


intimistes où l'histoire se dessine d'elle-même. En effectuant des recherches

sur les possibilités ludiques et théâtrales de la matière, Marie-Claude Morin a

crée un style métissé à la frontière des métiers d’art, du théâtre et des arts

visuels.

(google translate - When the field of jewelry stands out from its traditional

context, it allows the creation of objects beyond the mere ceremonial function.

Jewelry for several years, Marie-Claude Morin has developed an expertise in

the techniques from this job and quietly invest in small works background.

Whether it's jewelry, paintings or sculptural miniature stage sets, these works

have a mission to bring viewers into the intimate world where the story draws

to itself. In researching the possibilities of fun and theatrical material, Marie-

Claude Morin has created a style mixed border and crafts, theater and visual

arts.


Pour l’exposition Linen Diaspora, j’ai l’intention de présenter une oeuvre

d’ambiance qui utilise la graine de lin et la forme de la barque, afin de

symboliser un rituel de passage vers une renaissance. Cette sculpture

lumineuse symbolisera le temps nécessaire à la digestion d’un deuil.

Suggérée par une ronde de barques graduées munies de longues jambes

métalliques, la symbolique du deuil aura d’abord été nourrie par celle que

représente le lin. En effet, le lin, dans bien des sociétés, fut utilisé comme

tissu funéraire. Au lieu de l’utiliser comme matériau pour la création de cette

oeuvre, j’ai préféré substituer le lin par son germe, son origine. De cette

façon, la graine transporte avec elle tout le potentiel d’un nouveau départ.

Disposé sur un vieux baril de bois, cette sculpture va comporter un

mécanisme qui va se déclencher devant le public. En se déclenchant, les

ombres des barques vont se mettre à bouger sur les murs et ainsi renforcé

l’aspect onirique de l’œuvre. Symbolisant le voyage, la traversée accompli

soit par des morts ou des vivants, le thème de la barque se retrouve dans

toutes les civilisations. Tel un vaisseau messager entre les deux mondes, il

véhicule le potentiel du prochain cycle de vie. L’ensemble créerait un cortège

symbolisant l’impermanence des choses.

Google translate - For the exhibition Linen Diaspora, I have a work background that uses flax seed and shape of the boat, to symbolize a rite of passage towards a renaissance. Submitted on circular plate, this sculpture will become a miniature scenery where small wooden boats burned migrate towards a bright center. Having metallic legs, the boats have the same shape, but are graduated in size. Beneath their feet, would be a bed of shreds of linen fabrics. Their migration creates the shape of a large spiral. The boat would be near the center of any bright small. The interiors of these boats


would be lined with silver leaf and filled with linseed. Citing healing, silver leaf becomes the support raised by the birth of flaxseed. Symbolizing the journey, the crossing is done by dead or alive, the theme of the boat is found in all civilizations. Like a ship messenger between two worlds, he carries the potential of the next cycle of life. All create a procession symbolizing the impermanence of things.

Title Le cortège des linceulsApproximate dimensions

Approximative size : 16 pouces X 16 pouces X 42 pouces

Materials / medium

Bois, argent, graine de lin, laiton, bronze, lumière et fillageThese materials are not definitive: Wood, silver, flax seed, linen, steel, bronze, light and fillage

Methods, processes.

Taille directe, assemblage par soudures et collage, coulée à la cire perdu Direct carving, welding and assembly by gluing, lost wax casting

Estimate Ma pièce n’est pas terminée mais vous retrouverez ci-joint une image d’une ancienne sculpture My room is not finished but you will find enclosed a picture of an ancient sculpture

Dimensions of the work when packed

Approximative size : 24 pouces X 24 pouces X 50 pouces

Estimate Weight of work packed

40 livres environsI do not think it will be very heavy because they are small pieces with a tray criculaire.


J’aurais besoin d’un socle d’une hauteur de 1 pied X 2 pieds de large X 2 pieds de profond. De plus, il faudrait que la pièce soit exposée dans un endroit sombre dépourvu de pièces sur les murs afin de pouvoir créer les ombres en mouvement au mur. Idéalement, il faudrait une petite salle où l’œuvre serait disposé au centre. Il faudrait également une prise électrique.


No response


NillsonThe required wall space for the piece is approx 5m wide x 2,5m high, slightly bigger then I planned beforeMapping Memory; Work by Liz Nilsson, Email: [email protected]

Space needed: A white wall 5m x 2,5m

1.0 m

5.0 m

Included in the box is: “textile clusters” - which makes up the piece white tack and map pins for

provisional placing click on fittings, for raised pieces screws for fittings, for raised pieces

double sided tape, for flat pieces thread, for lines on the wall small white map pins, for attaching

the thread to the wall drawing pins with perspex head, for single dots on the wall glue Also

needed: Hammer - gallery?

Bradle - gallery?

Electric screwdriver - gallery?

Iron - gallery?

Some of the textile clusters are flat and will be attached to the wall with double sided tapeand others are proud from the wall and have a small connecter fitting that secures themto the wall. Some clusters might have become uneven in transport and need in that caseto be ironed. If you need to iron the pieces, use the teflon sheet supplied. Place the teflonsheet under and above the textile piece, and iron on top of the the sheet.


Hanging instructions:

1 Start with the blue concentrated area. These pieces are marked 1 on the back. Use White Tack and map pins to put them up provisionally on the wall, in a similar manner as shown above. This way alterations to the placing can be made throughout the hangingprocess . The blue area should start approx. 2 m in from the left side of the space. ( see dimension sketch, page 1 ) 2 Place the yellow cluster of textile pieces ( all marked 2) in a similar manner, as shown below, again first with white tack/pins See dimension sketch, for where to place the pieces.

3. After that start with the pink cluster. (all marked 3) Again check dimensions on thesketch. 4. Attach the pieces properly to the wall with: a. flat pieces with small pieces of double sided tape.b. raised pieces with a connector screwed in to the wall, and and each piece willclick into a

connector. ( see below ) 3 Using white map pins, start to connect threads from one cluster to another. Hide the pins behind the textile pieces. Cut of left over thread. Add clusters at the end off some “thread lines” - see sketch. There is no total right or wrong way to hang this piece.

4 Each time ʻMapping memeory" is put up will look different. How the threads are placedwill vary from venue to venue. They should give the feel of a connection in between thedifferent clusters and reaching outwards.

6. Add the thread lines with only one dot in the end of it. The threads projecting from the blue cluster should lead off the left hand side of the wall . (See emphasised images at last pages of this document.) These dots are sitting on drawing pins with a perspex head. (More of them can be created in situ. Pins and singular circles are supplied in the box. They have to be glued on, using the “Serious Glue”)


Left hand side of the piece with the thread lines emphasised.

Right hand side of the piece with the thread lines emphasised.

Name Liz NillsonAddress 54, Kenilworth Sq. Rathgar. Dublin 6. IrelandE-Mail [email protected] liznilsson.com100 Word Biography

Liz Nilsson is an interdisciplinary textile artist, born in Sweden. She has practiced in the field of art and design for the last twenty years and moved to Ireland in 2000. BA Swedish School of Textiles, Boras, Sweden, MA from Goldsmiths College, University of London. She exhibits regularly in Ireland, the UK and Sweden and has an extensive public and private commissions record, including the Office of Public Works in Ireland. She approaches her work with careful methodology, attentively choosing materials and techniques to express ideas and feelings relating to memory.

100 word description of exhibit.

‘From reflection flows re-invention’ We all collect memories on our journey through life. A certain tablecloth may have left an imprint in our memory of a time long gone, of family and friends at a table together. The idea of domestic textiles such as table linen being laden with memory and cultural identity interests me and I often incorporate old and used cloth in my work. As a person that has not lived in my home country Sweden for 25 years, table linen from my child hood in Sweden has become an essential memory strand and identity factor. ”Mapping memory” reflects on the fragility of life, identity and the passing of time. This piece consists of 25-30 individual modules made out of re-used linen table clothes, which on the wall creates a personal identity map. The surface of the table clothes has been printed with old personal letters, before being laser cut into disks and fused together to form abstract shapes.

Title of exhibit

Mapping memory


The total wall space size can very depending on location, but approx. 300 x 250 cm.

Materials / medium

Recycled table linen, interlining . Perspex fittings, Buttonhole thread.

Methods, processes.

screen printing, laser cutting and textile manipulation.

Estimate Images are attached in this email. Dimensions packed work

Packed in one box 100 x 100 x 12 cm with two layers. All the textiles pieces are secured with pins into foam, so that they do not move around.

BILP Installation Information 16


8-10 kg


The installation includes 40 -50 small textile modules.

The new version of ‘Mapping memory’ will need a wall 3x2meters. The new piece will have buttonhole thread stretched as connectors inbetween the different modules.

Are you intending to go to going to the opening afternoon 25th

June? Dates of travel /route.

YES


Rachel O’Neill

Rachel O’Neill | Bless You Instructions

NB: I have imaged that each piece should be suspended at the a slightly different height, like flowers. However as I have not seen the exhibition space this may not work, I will completely trust the decisions of the curators of the finial height adjustments of the lights.


Piece Installation Special instructions

Bless YouPiece 1 (white)

Suspended from ceiling Requires electrical wiring Requires 120w bulb Chains can be cut to adjust height Please suspend as low as possible

so that shadows will cast onto floor

Bless YouPiece 2(green)

Suspended from ceiling Requires electrical wiring Requires 120w bulb Chains can be cut to adjust height Please insert the fibre optics into

piece by finding a gap in the Velcro and pushing through. Do not allow fibre optics to touch bulb, but point them towards the light

Bless YouPiece 3(multi coloured)

Suspended from ceiling Requires electrical wiring Requires 120w bulb Chains can be cut to adjust height

Bless YouPiece 4(white & metallic)

Suspended from ceiling Requires electrical wiring Requires 120w bulb Chains can be cut to adjust height

Rachel O’Neill: A Chu

Piece Installation Special Instructions

A Chu Outside

Name Rachel O’NeillAddress 36 Kenlis Street, Banbridge, Co. Down, BT32 3LLE-Mail [email protected] www.racheloneill.comSkype looplaaFax 02840624538100 Word Biography

Northern Irish artist and designer Rachel O’Neill works at the interface between art and design using a variety of tactile materials to create wonderfully playful one-off installations and limited edition pieces. Taking much of her inspiration from the magnificent sea and landscapes of her native Ireland, Rachel O’Neill’s objects have a fluid, often amorphous visual quality redefining their purpose and shapes.

In keeping with the deep-rooted crafts heritage of a rural society Rachel loves working with her hands enjoying the challenge of transforming heavy-duty industrial textiles and fabrics into magically beautiful commissioned works of art or affordable design products.


“Bless You” explores the migrant nature of the linen textile tradition and its global dispersion. The pieces are inspired by the flowers of the linen flax plant. They pay homage to the colours and vibrant seen in the linen fields. One piece been produced using vintage linen handkerchiefs collected from as many locations and eras as possible. All pieces are dyed and shaped by hand.

‘A Chu!’ The sneezing noise one might make when walking through a meadow of Flax flowers. This pieces pays homage to the beauty of the delicate yet robust Irish Flax plant who’s fibres housed an industry that became a corner stone of the Northern Irish economy for nearly three hundred years.

Title ‘Bless You’ (indoor) & ‘a Chu!’ (outdoor)Approximate dimensions

Dimensions of work description of approximate dimensions of installation Bless You : Piece1; ø100cm


Piece 2; ø60x80cm Piece 3; ø50x70cm Piece 4; ø50cm

A Chu! : Piece 5; 210x150x150cm structure & approx 50cm surround

Materials / medium

Bless You : hand dyed Velcro & Linen, Metalic Foil, Fibre Optics, Aluminium structure.

A Chu!: hand dyed Velcro, Aluminium structureMethods, processes.

Hand Dye Velcro and LinenHand built structures


Piece 1 : 110x110x110cmPiece 2 : 70x70x70cmPiece 3 : 60x60x60cmPiece 4 : 60x60x60cmPiece 5 : 80x60x60cm & 60x20x20cm



Piece 1 :10kgPiece 2 :10kgPiece 3 :6kgPiece 4 :6kgPiece 5 :10kg

Value for Insurance puposes

Piece 1 : £1800Piece 2 : £1100Piece 3 : £950Piece 4 : £950Piece 5 : £2500


Number of pieces. Method of installation or positioning. Technical requirementsBless YouPiece 1 : require electric powerPiece 2 : require electric powerPiece 3 : require electric powerPiece 4 : require electric powerN.B. Electrical components for the lighting pieces will be provided. These must be fitted by an qualified electrician. Bulbs cannot be provided from the UK as they will be 240v not viable for Canadian 110v. I hope i twill be possible for the Electrican to provide these at the venue installation. All pieces can be hung from the ceiling or from a bracket in a wall.

A Chu!Piece 5 : £2500Installation of a simple tent frame structure (to be built on site). A canopy of velcro flowers to go over this.

Going to opening?

No


PaquetTapestry

Variations sur un Regard 2011

Name Suzanne PaquetteAddress 485 Boulevard Langelier, #303,

Québec, Québec, Canada, G1K 5P3

E-Mail [email protected] http://suzannepaquette.comSkype suzyaumaroc100 Word Biography

Suzanne Paquette, originaire de Montréal, poursuit depuis une trentaine d’années une carrière en tapisserie haute lisse. Titulaire d’un Baccalauréat et d’une Maîtrise en arts de l’Université du Québec à Montréal, elle a également étudié au Banff Centre School of Fine Arts. Son œuvre a fait l’objet de nombreuses expositions individuelles et elle fut sélectionnée à plusieurs reprises pour des expositions de groupes au Canada et à l’étranger. Plusieurs de ses œuvres font partie de collections tant publiques que privées. Parallèlement, elle enseigne les arts plastiques au Cégep Limoilou de Québec et intervient au Maroc comme consultante pour l’élaboration de programmes de formation en artisanat.

Suzanne Paquette, Montreal native, has been pursuing a career in tapestry for the last past thirty years. With a Bachelor Degree and a Master’s Degree in Arts at the University of Quebec in Montreal, she also studied at the Banff Centre School of Fine Arts. Her works was part of numerous individual exhibitions as well as multiple group exhibitions in Canada and abroad. Many of her works are part of both private and public collections. She also teaches visual arts at the Cegep de Limoilou in Quebec and intervenes as a consultant in Morocco in the elaboration of training programs in crafts.

100 word description of your intended exhibit..

S’éveiller à une culture étrangère. Prendre conscience de sa propre culture et en percevoir le filtre qui teinte notre regard. Vouloir le percer afin de saisir les nuances d’une réalité nouvelle.

Tel est notre rapport au textile qui, nous lie des langes au linceul dans les plus intimes expériences humaines.

Le geste répétitif et immuable du tissage, quoique simple, est chargé d’histoire. Il produit, au-delà de la conscience et des cultures, la synthèse de savoirs millénaires, des rencontres et des échanges, en affinité avec la matière et le rythme du temps.

En ce sens, mes œuvres questionnent, alors que les similitudes du geste rassurent.

Wakening to a foreign culture. Being aware of your own culture and


perceiving the filter that colors our eyes. Wanting to break it in order to grasp the nuances of a new reality.

Such relationship, from felt to swaddle, binds us to the textile in the outmost intimate human experiences.

This immutable and repetitive weaving act, although simple, is filled with history. It produces, beyond consciousness and cultures, the synthesis of old knowledge, meetings and exchanges in affinity with the material and the rhythm of time.

In this setting, my works question while the similarity of the act reassures.

Title Variations sur un regard 2011Approximate dimensions

Hauteur 155 cm x largeur 54 cm

Materials / medium

Laine, lin coton, fibres artificielles

Methods, processes.

Tapisserie haute lisse et tissage aux doigts


Approximate 25 x 25 x 75 cm


Approximate 5 klg


1 piece, wall hanging


Janine ParentE mail 30 March I went to the Moulin with Donald, to see the space, and wetought that the best place was in the corner at the right of thewindow on the first floor, one side of the path could be seen on bothside, and the right side would also be off the wall , at the end ofthe path there will be 5 wooden box (coffres) from up down, or in avertical row...( so far), I have an ebeniste, working on it...Dominique, je vais te faire de + belles photos en gros plan c'est bience que tu veux?

Just togive you an idea , this is the beginning of the suspended path...itwill be 8 feet long on each side...

e mail 9 March In fact my installative work has been evolving. I was not quitesatisfied with the project I presented to you...Here is what I amplanning to do. There will be a suspended path made of many ceramicbanderoles(Streamer3-4 feet long 2 inches wide ) which are printedwith the festoons.This path brings the spectator to the wall where 15wooden boxes are installed on the wall 3 boxes wide 5 rows..In theseboxes are a coussin made of ceramics and printed with a monogram andin a few box the coussin will be made of old linen embrodereid withmonograms . I will do the document but I will try to find help totranslate it for me and you.Concerning the installation I will bethere to help. I dont need any particular accessoire. I only need awall and a sealing...I will send you a new text for the relationbetween the theme and the ceramic work .Have a good day.

Name Janine ParentAddress 1403 Rue du Parc Champoux

Québec, Québec, G1S-1L7Canada

E-Mail [email protected] www.janineparent.com100 Word Biography

Formée en céramique à la Maison des métiers d’art de Québec, Janine Parent s’est spécialisée dans la technique de cuisson raku . Son œuvre, extêmement soignée, témoigne de sa recherche axée sur la simplicité et la pureté de la ligne. Elle a participé à plusieurs expositions à Québec, Montréal, Toronto (Canada), à Paris (France), Cheongju (Corée du Sud). Elle a reçu plusieurs prix dont le Prix d’excellence à Plein Art à Québec en 2009.Trained in ceramics at the Maison des métiers d’art de Quebec, Janine Parent specialised in raku firing. Her extremely meticulous work demonstrates a striving for simplicity and purity of line. The artist has displayed her work in a number of group exhibitions in Québec City, Montreal, Toronto (Canada), in Paris (France) and Cheongju (South Korea). She has received many prices and was the recipient of ‘’ Award of excellence’’ for her work in Plein Art Quebec in 2009.

100 word description of

Sur un mur de 10 -12 pieds de longueur, une tablette reçoit 8 coffrets de céramique à l’intérieur desquels se retrouve un joli coussin cousu


your intended exhibit.

dans d’anciens monogrammes de lin.Tels des reliquaires ayant voyagé d’un siècle à un autre, d’un pays à un autre, d’une femme à une autre, du coffre d’espérance au coffret d’argile, cette œuvre témoigne de la mémoire, de l’identité, de l’espoir et de l’inspiration que les travaux d’aiguilles de jadis offrent aux artistes aujourd’hui. Le coffret d’argile réfère au coffre d’espérance, lieux où les jeunes femmes entreposaient leur trousseau qui devait les suivre là où elles se poseraient. Ainsi les coffrets ont voyagé et retenus précieusement les savoir –faire, les espoirs, les bonheurs, de ces femmes de génération en génération. Ici le coffret d’argile se veut le précieux réceptacle de ces savoirs, de ces lieux de mémoire. Dans cette œuvre la migration s’est aussi produite d’un matériau à un autre, le monogramme d’habitude en lin s’imprime aussi ici dans l’argile et grâce au feu renaît sous une nouvelle identité.English versionOn a 10-12 feet long wall a shelf on which are place 8 clay caskets, chest(little box) in which are displayed a nice white cushion sew in an ancient linen monogram embroidery .Like a reliquary (shrine), travelling from one century to another, from one country to another, from one woman to another, from the ‘’coffre d’espérance ‘’to the clay casket (chest), this art work testify (witness) of memory, the identity, the hope and of the inspiration that needlework of yesterday offer to artist today.The clay casket, refer to the ‘’coffre d’espérance’’(chest of hope) the place (spot) where the young women stored their brindle (outfit, sheet,towel,linen,etc) which were to follow them until they set up ( get married I guess!!!…)So the casket(chest of hope) have been travelling and kept preciously the know-how, the hope, the happiness, of these women from generation to generation. Here the clay chest wants to be the precious container (receptacle)of know-how of these memory place. In this artwork the linen migration is also produce from one material to another, the monogram usually in linen is also print on the clay chest and with the help of the fire will reborn with a new identity.

Title Approximate dimensions

Un mur de 11’ X8’ avec une tablette à 48 pouces recevant les coffrets dans lesquels nous retrouvons un coussin brodé à partir d’un ancien monogramme de lin .A 11X8 feet wall with a shelf at 48 inch high . On it are the 8 boxes ( chest) in which is a cushion embroidery with an ancient linen monogram.

Materials / medium

Argile (grès), lin, cotton, Stoneware, linen, cotton.

Methods, processes.

Cuisson raku, lin cousu.

Raku firing, needle work ( for the linen cushion)

Estimate 300 dpi digital image of the artwork (if it already exists) and /or an image of similar work and/ or an image or close up of a detail and / or an image of a sketch, model or digital representation of the planned works. If you do not have the new work completed please send images as soon as you have them.



Number of pieces. Method of installation or positioning. Technical requirementsUn mur de 11 pieds de longueur, Une tablette de la meme longueur sur laquelle seront posés les coffrets.A 11 feet long wall a shelf maybe same lenght.11 feet.


Jill Phillips and Derek Wilson

E mail 4 AprilThe framed pieces are to be hung on the wall…Please arrange for the tables to be moved into the space, I don’t think at this stage we will require the cupboard unless you find that out there we can place an exhibition within one of them. The photos that Derek and I are completing tomorrow will show you how the pieces work together and the layout of them within the space. BOX 1Weight: 18 kgDimensions: 80cm x 60cm x 50cm1 x large porcelain bowl, pale celadon1 x 6 tall porcelain cups, pale celadon, on maple tray1 x Large porcelain plate, pale celadon 3 x little porcelain bowls, pale celadon1 x Porcelain tea-set. (handbuilt stoneware tray, pale celadon tea-pot and 2 cups)1 x Porcelain pourer, pale celadon5 x Porcelain cups, pale and dark celadonTotal Value: £1250.00

BOX 2Weight: 2 kgDimensions: 95cm x 12cm1 x Oak cup rackValue: £250.00

three framed piecesMaebh 306 Framed linen, embriodered and laser etched

Sub Total302 Framed natural linen, gold coated,embroidered and foil printed.

Sub Total305 Framed linen, foil printed, embroidered and laser etched

Sub TotalHistoria II 282 Framed linen, printed and laser cut

Sub Total

568Porcelain laser cut and printed linen on dyed cloth, honeycomb weave

568 Mauve laser cut linen on dyed cloth, heavy sack cloth weave568 Stone laser cut linen on dyed cloth, heavy sack cloth weave

Sub Total562B White large laser cut fine table linen tablecloth563C Laser etched wooden cutlery

Sub Total

571/M108Stone dyed linen cloth, heavy weave, printed, laser cut and laser etched

Sub Total545B Oak wood venner laser cut

545A/M104 Fine linen table cloth, white, printed and laser cutSub Total

563A Porcelain honeycomb linen fabric; bonded, laser cut and etchedSub Total

571 Oak wood venner laser cut and laser etched558/572 Stone dyed linen, laser cut and etched


572/568/M104

Porcelain colour honeycomb linen weave bonded to mauve dyed linencloth, printed and laser cut

Sub Total545A/m104 Mauve linen cloth, printed and laser cut572/M108 Porcelain laser cut linen on dyed cloth, honeycomb weave printed

Sub Total

Name JILL PHILLIPS AND DEREK WILSONDerek Wilson Jill Phillips

Address 173 Alexandra Park Avenue 13 OSBORNE DRIVE, BELFAST, BT9 6LG

E-Mail [email protected] [email protected] www.derekwilsonceramics.com www.jill-phillips.comskype Zero4zero7100 Word Biography

Derek Wilson is an artist-maker based in Belfast. After completing a Ba Hons in Fine and Applied Arts he trained as a production potter and worked in potteries throughout Ireland. In 2005 he returned to the University of Ulster to study for his Masters with the intention of concentrating on his own ideas and designs. During the M.A Derek was awarded the Richard K Degenhardt Belleek Collector’s Scholarship and on completion of the Masters he was awarded the Crafts Council Third Level award. He has recently completed Craft NI’s ‘Making It’ programme and is currently artist in residence at the University of Ulster. An industrial textile designer for almost ten years, Jill Phillips’s passion for fabric, texture and pattern is evident in her collection of stand-alone textile art. Jill’s passion includes the combination of using the old with the new; visually and also through technology. The technology allows me to present the old in new and exciting forms:- achieving a style that is unique and unobtainable by using other methods. The technology, mainly used in mass production is experimented with and by this process I explore visual delights. By combining all the processes I gain a style which is layered, allowing the observer to connect and reconnect to the piece and each time to gain something new from it, whether it be a texture, pattern or form.


Jill Phillips and Derek Wilson will collaborate to evoke linen rituals and the role of crafted artefacts in domesticity creating a series of installations evoking the emotional and physical journeys during this linen diaspora movement.The importance of the linen ritual and ceremony of tea explores the uncertainty ahead combined with the communal companionship of the movement. Displayed through a collaboration of surfaces, material and decoration through the media of porcelain and linen, referencing the historical value. Combining traditional approaches to craftsmanship with innovative approaches to technology: reflecting the contribution made by this movement spurring mechanisation, invention and changes in production practices.

Title Communal Rituals, Symbolic Escapism.Approximate dimensions


http://www.jill-phillips.com/

Materials / medium

Porcelain, Linen, wood veneer and other materials

Methods, processes.

Hand thrown porcelain, printed embroidered laser cut textiles.


Package One. 950mm by 650mm by 20mm approx 5kg Package Two 500mm by 700mm by 170mm approx 15kgPackage 3 80cm x 60cm x 50cm approx 18 kgPackage 4 95cm x 12cm cylinder 2 kg

Estimate packed WeightValue for Insurance purposes

£1250.00, £250.00


5 mixed media installations, displayed using mainly existing furniture. The framed pieces are to be hung on the wall. Oak cup rack on wall The flat pieces and ceramics are displayed on domestic tables

Framed Pieces

Meabh Detail

Meabh

Anya (Flat Shot)

Anya (Close up)


Pierre & Marie

E mail 17 March

Il est à noter que nous travaillons sous le nom de ''Pierre&Marie'' en tant que duo d'artistes, juste pour éviter la confusion. Nous avons mentionné que l'installation sera à l'intérieur du moulin Grondines au sous-sol si possible et que nous n'avions pas l'intention de faire d'installation extérieure.

Name nom collectif: Pierre & MariePierre Brassard & Marie-Pier Lebeau

Address 88 rue D'Argenson, Québec (Québec) Canada G1K 1RE-Mail [email protected] collectifpierreetmarie.blogspot.com100 Word Biography

Ébénistes de formation, Marie-Pier Lebeau et Pierre Brassard vivent et travaillent à Québec. Ils forment depuis 2006 le duo d'artistes Pierre&Marie. En collaboration avec plusieurs artistes et à travers divers évènements, ils touchent à la fois au milieu des métiers d'art, des arts visuels, de l'architecture et du design. Leur travail peut prendre la forme d’installations, d’objets sculpturaux, de déambulations urbaines ou de photographies. Ils sont les membres fondateurs des collectifs À gogo! (2008) et Acapulco (2009). Ils sont soutenus par le Conseil des arts et des lettres du Québec, la Conférence régionale des élus de la Capitale Nationale, la Société de développement des entreprises culturelles et Première Ovation. Cabinetmakers training, Marie-Pier Lebeau and Pierre Brassard live and work in Quebec. They form since 2006 the artist duo Peter & Mary. In collaboration with several artists and through various events, they affect both the middle and crafts, visual arts, architecture and design. Their work may take the form of installations, sculptural objects, of exploring the city or photographs.They are the founding members of collectives galore! (2008) and Acapulco (2009). They are supported by the Conseil des arts et des lettres du Québec, the Conférence régionale des élus de la Capitale Nationale, Société development of cultural enterprises and First Ovation


Pierre&Marie concentrent leur recherche sur le pouvoir narratif des objets du quotidien pour amener les gens à vivre une expérience. Leur propos teinté d'ironie donne à leur travail une dimensions interactive et accessible qui place le spectateur dans l'action. Dans l'esprit d'une Diaspora du lin, ils évoquent l'évolution de la perception de cette matière au fil du temps et des échanges. Champs de lin est une métaphore de la vision des instigateurs de la culture du lin qui l'ont fait voyager en l'imaginant dans différents lieux et qui ont réinventé ses fonctions. Aujourd'hui le lin est bien vivant grâce à toute une communauté de créateurs qui le projettent vers l'avenir. Pierre & Marie focus their research on the narrative power of everyday objects to get people to experience. Tinted with irony about them gives their work an interactive and accessible places the viewer into the


action.In the spirit of a Diaspora flax, they evoke the changing perception of this material over time and trade. Flax fields is a metaphor for the vision of the initiators of the flax that did travel by imagining in different places and have reinvented its functions. Today flax is alive thanks to a community of designers who are planning ahead.

Title Champs de linApproximate dimensions

72'' large X 36'' de profond X 68'' haut182cm wide x 92cm deep X 172cm high

Materials / medium

Contreplaqué, bois, miroir, Lite Brite, néon, judas de porte.

Methods, processes.

installation

Images300 dpi

Modélisation 3D de Champs de lin

Image à l'intérieur de Champs de lin (en ''pegs'' de Lite Brite)

Œuvre similaire (Industrie: scène III, détail. 2010)Il s'agit d'une pièce réalisée dans le même esprit: boîte lumineuse ayant l'apparence d'une caisse de transport et dessin réalisé avec des ''pegs'' de Lite-Brite.

* La pièce Champs de lin sera réalisée en mars\avril 2011. D'ici là, l'image à utiliser pour la promotion de l'évènement est celle envoyée en pièce jointe à ce courriel. Il s'agit de l'œuvre Industrie: scène III, similaire à Champs de lin dans son propos et son aspect.


72'' X 36'' X 20'' haut


200 lbs

Value for Insurance purposes

2 500.00$ CAN


Champs de lin est une boîte lumineuse qui a l'apparence d'une caisse de transport. Quand on l'observe de plus près, on remarque un judas de porte qui, lorsqu'on y jette un coup d'œil, révèle une image de champs de lin représenté en Lite-Brite.

Le lieu d'implantation suggéré par les artistes se situe devant le grand mur de pierre au sous-sol du Moulin de la Chevrotière (voir photo). L'œuvre doit être à proximité d'un accès électrique 110 volts. Il n'est pas nécessaire d'en faire le tour mais il doit y avoir un dégagement minimum de 12'' du mur.Fields of Flax is a light box that has the appearance of a shipping crate. When observed more closely, we notice a peephole which, when you cast a glance reveals an image of flax fields shown in Lite-Brite.

The location suggested by the artists is at the large stone wall in the basement of the Mill Chevrotière (see photo). The work must be close


to 110 volt electrical access. It is not necessary to go around but there must be a minimum clearance of 12''of the wall.

Any other information

La caisse de transport qui constitue la principale partie de l'œuvre Champs de lin sert réellement de caisse de transport. Elle est conçue pour contenir toutes les pièces de l'installation et elle assurera le transport de l'œuvre en toute sécurité.


Susan Warner Keene

Susan Warner Keene

Two-part Figure: Text/Subtext #1

Correspondence

Variance #2

Cipher #1

Cipher #2

Cipher #4

C$1175

Description of workLiquid paper pulp. Wall pieces in bright colour with open work.

Two-part Figure: Text/Subtext #1

109 x 178 x 7 cm / 43 x 70 x 2.75 in. flax, cotton, dyes, pigments, linen thread, acrylic medium

Correspondence54.6 x 109.2 x 1.3 cm / 21.5 x 43 x 0.5 in

handmade flax paper, pigment

Variance #2134.6 x 61 x 2.5 cm/ 53 x 24 x 1 inhandmade flax paper, pigments

Cipher #1 17 x 12 x 3/8 in./ 43 x 30.5 x .6 cm frame size : 22 x 14.75 inhandmade flax paper, hemp fibre

Cipher #217 x 12 x 3/8 in./ 43 x 30.5 x .6 cm frame size : 22 x 14.75 inhandmade flax paper, pigment

Cipher #4 17 x 12 x 3/8 in./ 43 x 30.5 x .6 cm frame size : 22 x 14.75 inhandmade flax paper, pigment

BiographySusan Warner Keene is a Toronto-based artist Susan Warner Keene graduated from the Ontario College of Art (now OCAD University) in Toronto, where she has maintained a studio since 1980. Her work has been exhibited widely in Canada, as well as in East Asia and Europe, including the 1992 Lodz International Triennial of Tapestry and the 2009 International Craft Biennale in Cheongju, South Korea. She was the 1991 recipient of the Prix Saidye Bronfman Award for Excellence in the Crafts, a national award. Keene’s work is held in such public collections as the Canadian Museum of Civilization, the Department of Foreign Affairs and International Trade, Canada, and the Canada Council Art


Bank, and it is included in the 2009 book Art Textiles of the World: Canada.

Statement

Flax is a sly material, ready to adopt any number of guises: Susan Warner Keene has used it as both surface and line. To her a sheet of paper represents a unique conjunction of the human capacities for imagination, communication and invention. Linen is implicated in the dissemination of knowledge by means of written language, as a papermaking material with a long history in the West, while at the same time claiming the most intimate contact with the body’s condition, from birth to death. The paper that can be made from flax often resembles skin, and occasionally it even seems to breathe.

Form #1 « Two-Part Figure : Text/Subtext

Name Susan Warner KeeneAddress 26 Fourth St. Wards Island

Toronto, OntarioCanada M5J 2B7

E-Mail [email protected] susanwarnerkeene.comTitle

Two-part Figure: Text/Subtext #1Approximate dimensions

109 x 178 x 7 cm / 43 x 70 x 2.75 in.

Materials / medium

flax, cotton, dyes, pigments, linen thread, acrylic medium

Methods, processes.

felting, dyeing, stitching, handpapermaking

Image


Approx. 48 x 40 x 6 in.


Approx. 20 lbs


$4,000 Canadian


This work has two parts. They hang side by side, 2 inches apart, on a wall. The left panel has a concealed wooden frame that is furnished with a hanging wire. The right panel has small grommets to accommodate nails into the wall.

Good lighting makes a huge difference to the colour and texture of this work in a gallery.


In this work, flax is employed both as fibre in a type of felting and as high shrinakage paper pulp in side-by-side panels of equal


dimensions but different visual and tactile properties. A language of materiality forms the text for this large folio.

Form #2. Correspondence

Name Susan Warner KeeneTitle of intended exhibit Correspondence


54.6 x 109.2 x 1.3 cm / 21.5 x 43 x 0.5 in.

Materials / medium

handmade flax paper, pigment

Methods, processes.

handpapermaking (pulp painting)

Image


Approx. 32 x 55 x 3 inches


20 lb.


$1,500 Canadian


This work is framed in black-stained wood, with glass. There are 2 D-rings, one on each side frame, from which to hang the work.


In times past, when postage was expensive and hard to come by, letters were often written in « crossed writing » to make the most of the page. Today historians rely on the correspondence of European settlers for early impressions of the country that became Canada. But these are not neutral documents : they are coloured by the education and expectations of the writer. Susanna Moodie was a British-born author and homesteader in Ontario in the 1830s whose mixed responses to life in the bush were published in her own lifetime. Texts:“Neat comfortable houses, surrounded by patches of clearing, arose on either side of the forest road.”and“Never did my eyes rest on a more lovely or beautiful scene. Not a vestige of man or of his works was there.” - Susanna Moodie, Roughing it in the Bush, 1852

Form # 3. Variance #2

Name Susan Warner KeeneTitle

Variance #2Approximate dimensions

134.6 x 61 x 2.5 cm/ 53 x 24 x 1 in

Materials / medium

handmade flax paper, pigments

Methods, hand papermaking (pulp painting)


processes.


Approx. 60 x 30 x 3 in.


Approx 5 lb.


$1,500 Canadian

Description of work /body of work. This will inform the curation and location of your work. The mill includes external space

Number of pieces -- 1, unframed Method of installation or positioning. -- Mount directly to the wall using long pins provided, one in the area of each of the upper corners and two near the lower part of the piece. The work should float about 1.5 inches from the wall so that the text casts a shadow. Hang from the top two pins first, to get the piece hanging straight, then place the lower pins to hold the entire body of the work the same distance from the wall .

Technical requirements – Use the pins provided. (There are extras) They are equipped with mylar washers that go behind the paper to hold it in place. Pins must be horizontal, ie parallel to the floor, so that the piece does not slide toward the wall. See visual aid on packing material.

Lighting is extremely important, as the play of shadow is essential to this work.



Additional label information, or text for a handout :

Language and material contribute equally to the physical form of this work, as the pattern of the words and their content determine the structure, while the behaviour of the high shrinkage flax paper pulp gives it dimension and texture.

Text: “No two seasons have been at all alike and it is supposed it will be still more variable as the work of clearing the forest goes on from year to year.”- Catharine Parr Traill, The Backwoods of Canada, 1836

Catharine Parr Traill was one of the first to document the native plants of Canada and to observe the impact of settlement. Rewriting her words in high-shrinkage flax pulp creates a ‘translation’ of her words into an artifact, obscuring a literal reading in the process.

Form # 4 Cipher #1, #2, #4

Name Susan Warner KeeneTitle

Cipher #1Cipher #2Cipher #4


#1 : 17 x 12 x 3/8 in./ 43 x 30.5 x .6 cm frame size : 22 x 14.75 in#2 : 17 x 12 x 3/8 in./ 43 x 30.5 x .6 cm frame size : 22 x 14.75 in#4 : : 17 x 12 x 3/8 in./ 43 x 30.5 x .6 cm frame size : 22 x 14.75 in

Materials / medium

#1 handmade flax paper, hemp fibre#2 handmade flax paper, pigment#4 handmade flax paper, pigment

Methods, processes.

#1 handpapermaking with high shrinkage pulp, inlay#2 handpapermaking with high shrinkage pulp, pulp painting#4 handpapermaking with high shrinkage pulp, pulp painting

Image


two-part figure: text/subtext #1 - ulster institutional...

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