Fibers of Design

ARTISTS

This body of work explores pattern and printmaking in relation to fabric. By working with iridescent and translucent fabrics and screen-printing, I create multiple layers of moiré-patterned textiles fused to canvas.

A moiré pattern is a visually superimposed effect created when two identical patterns are overlaid and rotated a small degree from one another. Moiré patterns go virtually unnoticed despite their wide range of use. You can find them in halftone prints, digital screens, and pressed fabrics. However, they’re not always a desired effect. In digital imaging and photography, these patterns usually cause unwanted interference and in some cases render work unusable.

By exploring my personal environment, both natural and unnatural, I hope to create ways to blend the two aspects of this pattern together, its intended use versus its unwanted presence. As a printmaker, I strive to foster an awareness of a usually unnoticed and under appreciated pattern, while also creating a visually stunning and altogether disorienting experience.

Amada Miller is a painter and printmaker from Austin, Texas currently based in San Antonio. She is the founder and co-director of Hello Studio, an artist-run gallery and residency in the Blue Star Arts Complex. Miller has shown her work extensively throughout San Antonio including at The McNay Art Museum, Blue Star Contemporary, FL!GHT Gallery, Agora Gallery, R Space, AnArte Gallery, and Mayor Julian Castro’s office.

Meghan Bogden Shimek makes textural woven wall hangings, installations, and sculptures. By referencing movement, healing, distress, and loss, Bogden Shimek formalizes the coincidental and emphasizes the conscious process of composition that is behind the works. The thought processes, which are supposedly private, highly subjective and unfiltered in their references to dream worlds, are frequently revealed as assemblages.

Her woven works feature unexpected connections which make it possible to reflect on uncomfortable feelings and self healing. By questioning the concept of movement, she creates work through labor-intensive processes which can be seen explicitly as a personal exorcism ritual. She explores movement through performance with the fibers, allowing them to fall into an indeterminate pattern that reveals the beauty of vulnerability. The artist also considers movement as a metaphor of continuous loss.

Meghan is a weaver and fiber artist living and working in the San Francisco Bay Area. Meghan is inspired by loss, movement, healing and the acknowledgment of uncomfortable feelings. She integrates the natural beauty of her surroundings, the memory of quiet snowy nights, and the sound of the stream running under her home into every weaving. Meghan uses traditional tapestry and Navajo weaving techniques along with organic movements to intertwine raw fibers and objects to create abstract and textural wall hangings.

I am interested in our physical and personal relationship with books. The form of a book is familiar, and is easily approachable. From this common space, I push the boundaries of the formal structure of a book in unexpected ways. For example, I accumulate multiple layers of material and form them into signatures, a conventional book element consisting of multiple layers of paper folded in half. These layers are not bound by covers, but are dyed and manipulated, piled on the floor or suspended from the wall.

In sculptural pieces, I align creative process with the inherent quality of material. I manipulate and gather thin, delicate sheets of paper into a mass of texture, or create more structural forms by casting sheets out of repurposed material. Recycled architectural drawings on tracing paper become a sea of texture, and disintegrating linens are beaten and layered into sprawling organic forms. Letter pressed type, irregular naturally dyed surfaces, and variations of paper pulp content are combined with a limited color palette, shaping moments of simple tactility.

Delaney received her BFA in Graphic Communications from the University of Southern Mississippi in 2007 and her MFA in Fibers from the University of North Texas in 2013. Her work is part of the permanent collection at Texas Women’s State University, and she is a featured artist at Hunter Gather Project in Houston, Texas. Delaney was an artist-in-residence at the Houston Center for Contemporary Craft, and participated in Pentaculum, a week long forum at Arrowmont School of Arts and Crafts. Delaney is currently an artist member of Box13 Artspace in Houston, TX.

Reception May 20, 6-8PM
May 20 – July 2, 2016

Curated by Carol Cunningham

As a large user of social media platforms, such as Instagram and Facebook, I am fascinated with the emerging renaissance in crafts that materialize daily in my news feeds. Many of the artists I follow utilize powerful yet unassuming design to communicate effectively in an over stimulated market place. Fibers of Design consists of creators who simultaneously function as designers, crafters, and fine artists. The works within the show focus on each artist’s varying, sometimes contradictory, practices with fibrous material while exploring the basic elements of design – line, shape, form, color, and texture. The exhibition combines large scale weavings, paper sculptures and works on paper, each exploring a complex relationship to fiber while engaging in the aesthetic ideas of minimalism.

Staying true to my design background, I focused on the power of odds. The exhibition is composed of three female artists in different stages of their careers, coming from various educational backgrounds. San Antonio based artist Amada Miller strives to elevate underrepresented patterns. Houston resident Delaney Smith elicits a deeper look into the art of bookmaking and language. And Oakland, California Artist Meghan Shimek offers a therapeutic and process-oriented approach to craft. As reflections of their experiences, each artist provides a distinct perspective on Fibers in Design.

Within the exhibition a soft pallet of colors and textures emerge: whimsical landscapes of color field fabrics extend over the remnants of trees (Amada Miller), juxtaposed by bound shapes of roving, unspun cotton, suspended from lofty elevations inviting the casual bump from passers-by (Meghan Shimek). The image is then bound, as would a book, by pages upon pages of signatures and repurposed paper pulp of deceased fibers (Delaney Smith).