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robertogreco : embroidery   24

Juana Gómez
[via: "Chilean artist Juana Gómez uses photography, weaving and embroidery to explore themes of genealogy, biology and interconnectivity in her own (and her daughter's) female lineage #womensart" ]

[See also: ]
chile  glvo  embroidery  art  artists  juanagómez  geneology  interconnected  biology  interconnectivity 
september 2018 by robertogreco
Kilometre.Paris – Travel by Fashion
"“Kilometre is a luxury brand like no other.

We believe that the discovering the world is the ultimate luxury. Our clothes are destined for travellers and for those who love life. We combine flavours, destinations, literature, sound, and music to create a community of travellers for whom beauty has no limits or frontiers. Kilometre.Paris surfs the waves of fashion to travel in original and unexpected ways. The brand has launched a series of exclusive designs embroidered onto 19th century white dress shirts from the south of France. The exquisitely detailed embroidery is done by hand in Mexico and India, and each shirt is based on the idea of travel. Company founder Alexandra Senes (former editor of Jalouse magazine, judge on the French version of Project Runway, consultant for luxury brands such as Hermes and Harpers Bazaar), carefully selected over 20 up-and-coming destinations (the St. Tropezs of tomorrow) and teamed up with designers and artisans to transform the shirts into illustrations of our destinations. With each shirt comes a “second skin” and a passport containing a guide to the destination.”

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glvo  embroidery  textiles  clothing  fashion  travel  geography 
july 2017 by robertogreco
A Textile Collage | Cooper Hewitt, Smithsonian Design Museum
"Tsugihagi was designed by Reiko Sudo (b. 1953), one of Japan’s most important contemporary textile designers. Educated at Musashino Art University, she is currently managing director of the Japanese company and store NUNO where she has been since 1984. NUNO produces textiles of extraordinary ingenuity and beauty. Sudo and the other designers at NUNO combine tradition and advanced technologies with remarkable creativity, which led them to the forefront of textile design field.

In 1996, NUNO began working with various kinds of embroidery techniques to create new effects. Tsugihagi, designed in 1997, is a delicate combination of embroidery and collage techniques made with remnants of NUNO fabrics that are laid out to cover the surface of a base fabric. The remnants are stitched down by sewing machine, and the base fabric is dissolved away leaving a lacy and net-like patchwork of different fabrics. Each piece is unique and twenty years later they continue to produce these textiles. Tsugihagi can be used as a window covering or for other interior purposes. This type of embroidery technique, in which the ground fabric is destroyed, began in the early 1880s when protein fibers like silk or wool were more than likely used because they could be dissolved by a solution of caustic soda or potash, leaving the embroidery thread of cellulose fibers like cotton or linen intact."
reikosudo  japan  textiles  glvo  cooper-hewitt  matildamcquaid  design  art  fabrics  embroidery  collage  nuno  sewing  remnants  reuse  sustainability 
september 2016 by robertogreco

is based on a browser-based educational programming language (Snap!) to generate patterns for embroidery machines. It is easy to use, requiring no prior knowledge in programming, yet powerful in creating nowels patterns for embroidery. It is useful for designers to experiment with generative aesthetics and precision embroidery as well as tool for innovative workshops combining an introduction to programing with haptic output.

Turtlestitch uses Snap!s "pen module" which it interprets as a needle and transforms its output into widely-used embroidery file formats.

About Snap!

Snap! is a visual, drag-and-drop programming language that allows students to create interactive stories, animations, games, and more, while learning about mathematical and computational ideas. Snap! was inspired by Scratch, but also targets both novice and more advanced students by including and expanding Scratch's features.

Snap! is developed by the University of California, Berkeley with the support from the National Science Foundation, MioSoft, and the CommunicationDesign Group at SAP Labs.

The design of Snap! is influenced and inspired by Scratch, from Lifelong Kindergarten group at the MIT Media Lab. For more information see and "
turtlestitch  snap!  embroidery  sewing  scratch 
august 2016 by robertogreco
Review: At SCAD, Jessica Rankin’s “embodied” private moments, awash in time | ArtsATL
"In an art world saturated with the glossy, the slick, the unemotional and the impersonal, the work of New York-based Australian artist Jessica Rankin refreshes and delights. Private, unpretentious and meticulously labored, the six works in her exhibition “Passages” at Trois Gallery of the Savannah College of Art and Design in Atlanta through May 31 — two large-scale 7-by-7-foot drawings and four embroidery “paintings” stitched on gossamer organdy fabric — present an artist quietly self-possessed.

While you might call her a landscape painter of sorts, Rankin’s work expounds and reconstitutes this traditional form by altering and re-altering the viewer’s geographical orientation. Geography, for her, is a mutable concept depending on where your eyes might be looking. Fashioning a perspective that is both above and below, she obfuscates the horizon line, giving the appearance of looking in multiple directions at once. What might be constellatory coordinates in the night sky could also be landmarks on a topographical map, or perhaps a pile of rubbish sitting beneath a fiery, setting sun, as in “Empty Night.”

The simultaneity that this multiplicity of orientations presents is one that the artist purposely constructs, for her work encapsulates the temporality of a discreet private moment — a memory, a thought, a phrase, a feeling — and places it concurrently within a broader, macro relationship to time — geological time, space-time or perhaps even timelessness — with equal conviction.

The daughter of a poet, Rankin articulates the nuance of these private moments with language she literally stitches with thread into the surface of the work. Her texts combine her own writing, overheard conversations and text she has found, seen or remembered. Interested in the way words are capable of communicating as well as miscommunicating, she relies on misspellings, misinterpretations and misunderstanding as the very content of the works themselves.

Partly influenced by the concrete poetry of the 1950s, the shape and rearrangement of Rankin’s text is equally as important as its verbal significance. Whimsical reconfigurations such as “WHO THISIS ISTHIS” or “PUSHINGSO METHINGA WAY” emerge as strange new utterances, as though learning to speak for the first time. In an interview published by White Cube, the London gallery that represents her, Rankin refers to these works as “brainscapes” and explains, “I realized that thoughts are not logical — they move around.”

Through the reshaping of language, she isolates our predetermined understanding of a word and its multiple cultural implications by reorienting the way we see it. Appearing as coordinates on these deeply personal cartographic works, words stop being words and instead become newfangled sounds and syllables steeped in poetic meaning. Some combinations take on a slow, deliberate, contemplative state. Others are so fraught and jumbled that you’re left wanting to escape the entanglement and confusion they conjure up."
2013  jessicarankin  art  embroidery 
february 2016 by robertogreco
Jessica Rankin in the Studio | White Cube
"In this film, Jessica Rankin discusses inspiration and the methods of production of her work with White Cube's Tim Marlow. Rankin talks about the genesis of her embroidery technique, her decision to depart from painting and how she was initially inspired by the work of the Feminist artists from the late 1960s and '70s. Revealing her enjoyment in the mediative process of sewing, she discusses positively embracing the ethereal and the subconscious as well as her interest in ghost story writer M.R. James.

Filmed in New York, November 2011"

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2011  jessicarankin  art  embroidery 
february 2016 by robertogreco
hillary fayle
"I use found botanical material such as leaves, seedpods, and branches to explore human connection to the physical world. By combining these organic objects with the rich traditions of needlecraft, I bind nature and the human touch. Both tender and ruthless, this intricate stitch work communicates the idea that our relationship with the natural world is both tenuously fragile and infinitely complex.

The way I think about and make art mirrors the way I think about my life and how I walk through the world. What I do is about elevating details. It is about noticing cycles and connections. It is about regarding a familiar object in a new way. It’s about seeing things and considering their connection to you, their potential futures and possible pasts. There is a depth and an importance to what is present, and what is absent. Invisible narratives are woven into and around each piece, each interaction. As I gather materials with which to work, I consider what connections might exist between us, or how each object might be related to another. I am a cartographer, drawing and plotting an imaginary map, from one object to the next, intervening with each. These objects naturally fit into categories, which relate to my own experiences, but also to their origins and how they came into my hands. The vertices of experience and the actual life trajectory of an object are what interest me the most; the points at which the object and I intersect.

I grew up in Western NY, and earned a BFA from Buffalo State College, and an MFA from Virginia Commonwealth University."

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embroidery  sewing  leaves  plants  glvo  hillaryfayle  art  trees 
december 2015 by robertogreco
The oddly beautiful and sometimes disturbing artistic talent of the nation’s drug cops - The Washington Post
"The other important point to consider is that many patches are essentially private documents, made by law enforcement officers for law enforcement officers. "They're made as collectibles," Sherrard says. They're for internal morale-boosting and team-building. Officers from different agencies trade them with one another, "like a business card in some ways," Sherrard says.

When we talk about large federal agencies like the DEA, it's easy to forget that every monolithic bureaucracy is composed, essentially, of individuals.

It's one thing to dismiss the asset forfeiture program as terrible policy, for instance. But it's another to remember that the individual agents who carry out that policy are, in many ways, just regular people doing a job they've been assigned. Field agents don't write policy -- Congress does. Why wouldn't we expect the people who carry out that policy to take pride in their work, and to wear that pride on their sleeve?"
badges  dea  lawenforcement  warondrugs  art  graphics  government  drugs  patches  embroidery  glvo  christopheringraham  police 
march 2015 by robertogreco
Quartet on Behance
""Quartet" is a series of works made of hand-made collages, printed and hand embroidered on canvas."

[via: ]
embroidery  collage  glvo  art 
march 2015 by robertogreco
Andrea Dezsö
"Andrea Dezsö is a visual artist who works across a broad range of media including drawing, painting, artist's books, cut paper, embroidery, animation, sculpture, site-specific installation and permanent public art. Dezsö's large-scale permanent public art has been installed in two New York City subway stations and at the United States Embassy in Bucharest, Romania. Community Garden, Dezsö's mosaic in the New York City subway was awarded Best American Public Art in 2007. Dezsö is an award-winning illustrator whose work has been featured in many books, magazines, and CD covers, and by The New York Times, Sony Music, and Candlewick Press. Dezsö exhibits in museums and galleries around the world, and teaches widely. She is Assistant Professor of Art at Hampshire College in Amherst, MA. Dezsö is represented by the Nancy Margolis Gallery in New York and the Pucker Gallery in Boston."

Artist Statement

"I wanted to be alone in quite an unusual, new way. The very opposite of what you are
thinking: namely, without myself…” – Luigi Pirandello

In my drawings, paper cuts and paintings I tell stories. My visual narratives range from the
mystical to the absurd and I often use traditional techniques to express non-traditional or
subversive content. I am drawn to the visually unusual, weaving together psychological,
historical and ornamental themes, and find unspeakable beauty in the natural world.
Sometimes in my dreams I fly, although not as often as when I was a child in Romania, then
I flew every night.

In one way or another, many of the images I’ve been creating lately touch on the idea of
disappearance and absence. There is a sort of absence when a space has never been
inhabited, and then there is a different sort of absence that is left behind when something
or someone has been removed and is no longer present. It’s more of a negative imprint.
I feel that I’m disappearing sometimes, liberated from the confines of a particular self, a
reward I experience through my studio practice, the cessation of self-preoccupation and
andreadezsö  art  artists  embroidery  animation  sculpture  installation  romania  dreams 
august 2014 by robertogreco
Jillian Tamaki
"I am an illustrator and cartoonist living in Brooklyn, NY. I grew up in Calgary, Alberta and graduated from the Alberta College of Art and Design in 2003. Currently I teach in the illustration Department of the School of Visual Arts.

My two books of personal work are Gilded Lilies (2006) and Indoor Voice (2010). My cousin, writer Mariko Tamaki, and I are the co-creators of the graphic novel SKIM (2008); we are currently working on a new graphic novel project, This One Summer (2014)."
art  artists  illustration  comics  jilliantamaki  embroidery 
may 2014 by robertogreco
eliza bennett embroiders a self-inflicted sculpture into her flesh
"using her own skin as a canvas, british artist eliza bennett has realized a self-inflicted sculpture, woven into the palm of her hand. considering the flesh as a base material, bennett carefully stitches patterns and lines into the epidermis of her body using colored thread; ‘a woman’s work is never done’ results as an incredibly worn-looking hand, overworked and fatigued. by using intricate embroidery techniques — traditionally used to symbolize femininity — and applying it to a context of its opposite, bennett challenges the pre-conceived notion that ‘women’s work’ is light and easy. ‘through a personally charged perception, I explore a range of issues relating to the formlessness of both individual and social reality’, the artist says of her ephemeral sculpture’s significance. the administered piece on the surface of her skin aims to chronicle the effects of labor intensive work, while drawing attention to low paid jobs such as cleaning, caring, and catering, all of which are traditionally considered to be gender specific towards women."
elizabennett  2013  embroidery  body  bodies  art  skin  sculpture  flesh  glvo  sewing 
december 2013 by robertogreco
map quilts by leah evans
"leah evans is a textile artist based in madison, wisconsin. she makes quilts that are far from traditional. each piece features a map which is hand-sewn in fine detail forming an almost abstract pattern. evans uses appliqué, reverse appliqué, piecing, natural and synthetic dyeing, needle-felting, hand printing and a variety of embroidery to make each piece. she takes the imagery from maps, aerial photography and satellite images. however she doesn’t simply translate maps onto here quilts, instead she creates imaginary lands uses elements from different maps."
leahevans  maps  quilts  sewing  glvo  geography  design  mapping  embroidery  appliqué  fabric  cartography 
december 2008 by robertogreco
[Wayback: ]

"Defunktion presents an exhibition from Emma Ferguson, a British artist specialising in embroidery. Kick your pre-conceptions to the gutter as Ferguson entangles notions of this traditional practice with technology fetishism creating stunning and unexpected imagery."
artist  craft  embroidery  technology 
july 2007 by robertogreco
Fecal Face - Megan Whitmarsh Interview
"You may know her for her comic books, her handmade wallets, her paintings or all of the above. With misfits, embroidery, yetis, tiny industries, enjoy and explore the world made by Megan Whitmarsh."
illustration  artists  interviews  sewing  megwhitmarsh  embroidery  yeti  bigfoot  art 
may 2007 by robertogreco

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