Britta Fluevog: wool

Showing posts with label wool. Show all posts

Border Building Perfomance Video- Edge of the Pink Exhibition

Everything has order, precise lines, laws, laws, order and purpose. Order is what allows our world to exist, it established and maintains equilibriums. But it is chaos that drives and changes our world; evolution requires chaos to move forward. My Chaos series is a celebration, expression, and inquiry into chaos. It also explores quantum mechanics theory (whereby the act of watching changed the movement of electrons) and how inanimate objects have a spiritual or self-knowledge side to them and how our relationships, as people, with these inanimate objects affects them. My pieces seek to create chaos out of order, disequilibrium, dynamism, uncertainties, joy, explosion and change.

Tangled A Morel or Something
2008 2008

My piece Tangled, from my
Black wool, Rusty Metal Series was the inspiration for my Chaos Series. It
started with two works on the Fairy Tale Warp, Faerie & A Morel or Something. While making A Morel or Something, I created and worked out my theories on chaos. I also established some guides which most of the following works would follow: technical chaos, having very loose weft concurrently very tight weft; and having my chaos involve colour/ a sense of joy.

Silverware Wefts, IFIAFF Warp

Woman with two vices

Woman with Two Vices

Tube Warp

2011

wool, metal, plastic, vice grips, chain, tinfoil

Silverware I

Silverware I

Strength warp

2008

Wool, Tin Foil, Knives, Plastic, metal scrubbing brush, coat hanger

A Moral or Something

Fairytale Warp

This work was created as a narrative. The beginning starts with colour and an overpowering, thick, heavy dark block. There is a chaotic colour textural part that appears to thwart or stop the black mass. It calms down some and then this is another larger chaotic feature in the middle. It calms down and almost immediately are dark stripes. Near the end a dark patch that is filled with chaotic colour occurs. The piece is finished with three hangers.

It can be deciphered as good versus evil, chaos versus order, but when taken literally, neither of these quite work. As a story or narrative, there is no obvious outcome, just kind of a muddle. This piece was created when thinking about chaos in relation to life, in relation to god; how what can look like chaos is actually order. I see god in chaos, order can overlook the spiritual side. Everything has an element of order and of chaos, it simply depends on how close or how far ones perspective is. I was trying to be moralistic with the dark and chaos, but was also disagreeing or arguing as I did so. The background, certain parts more than others are the least harmonious aspects of the whole work. While it holds the epic battle of the dark and the chaos, it also muddies the whole idea as it is far from a neutral background and it does not contribute to this interpretation.

The last issue when looking at this work is that it just looks like fun, silly, enthusiastic expression that has no point other than light-hearted creative weaving.

In the end I don't know if it is something to ponder or simply enjoy.

Searching for Sqaure

This was one of my first weavings, the second, I believe. It is also the first weaving to transcend the loom. The piece was created using a tri-warp system. My first weaving showed my interest in alternate materials and my second an interest in the functional aspects of the loom and breaking standard functional principals. I had a desire to make the weaving 3D, I am a 3D person, it is how my mind works and a process I find satisfying. I am also radical non-conventionalist, so simply staying in the warp was absurd. This piece was about learning, how to treadle, how to make a pattern, how to find a pattern, how to follow the limits, how to break the limits, but mostly simply how weaving worked, in and out, what could, would work and how it would all look.

black wool, rusty metal: Serries

Silver and Gold detail

Honeycomb Warp .

2008

Wool, tin foil, bubblewrap, scrub pad, furniture trimming, hanger

black wool, rusty metal Series

I see weaving as a possibility for a marriage, a dialectic, a union. The coming to together of separate entities, where they form one whole, but the seperate parts are what make the beauty. In weaving there is poetry, the weft and the warp, no knots or glue, become one on the strength of their connection. For this series, I decided to explore the possibility of dialectics by using traditional and non-traditional weaving material. The warps are all made of yarn, wools, cottons, natural or blended natural materials. The other materials, industrial or domestic are not soft or sensual. Some of them form part of the warp, some are imbedded into the weave, while others are attached onto the weave.

This series is very much about dialectics. The texture and joining of the two materials, how metal or perhaps bubble wrap can aesthetically speak with yarn, with each other, against each other. In some of the pieces, such as Domesticated? or Silver and Gold, the metal becomes softened, and sensualized, it starts taking on some of the properties of textiles. In other pieces, the opposite effect happens; In Man Scarf the tweed becomes masculine, sterilized, industrialized and rigid. I am very much interested in the dialogue that happens with the different materials. Some pieces have two or three other materials than the standard yarn, others just one.

Some deal with the aspect of time as motion, using parts that are normally in motion such as cogs, that are then ensconced into the motion of the weave, which, when it stops leaves them motionless. They all have dialog in time as history, the history of the material and the effect on the world. My piece, Thinking, has the most overt and traditional historical background; Crafts, in particular textiles, was the original start to industrialization, which is represented in the large gears. Silver and Gold deals with a more recent history, made up of metal dish scrub brushes, tinfoil, upholstery fringe, bubblewrap, and wool; it deals with today’s domestication servant, to housewife to double income families always in a rush; it speaks of today’s throwaway society and the wool is almost the exotic element.

My series also involves gender. All of the materials in the work can either be viewed as masculine or feminine. Some of them form a struggle, some irony, most have some subversion in them. By far the one dealing most with gender is Man Scarf. It is a black scarf-sized pieces of wool covered with the female