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| Cross Section (4) 2004 socks, thread, acrylic paint,marble dust 40 x 25 x 3 inches |
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| White Shadows (2) 2009 paper, cloth, thread, acrylic paint 9 x 7 x 1 inches |
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| Budding (6) 2001 cloth, thread, acrylic paint 33 x 47 x 49 inches |
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| Budding (6) DETAIL 2001 cloth, thread, acrylic paint 33 x 47 x 49 inches |
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| Inside Out (12) 2000-2002 cloth, thread, acrylic paint 109 x 53 x 72 inches Collection Mead Art Museum, Amherst, MA |
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| Inside Out (12) DETAIL 2000-2002 cloth, thread, acrylic paint Collection Mead Art Museum Amherst, MA |
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| Inside Out (11) 2000-2002 cloth, thread, acrylic paint 88 x 69 x 30 inches |
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| Inside Out (11) DETAIL 2000-2002 Cloth, Acrylic Medium, Thread 88 x 69 x 30 inches |
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| Reconstructed (5) 2009 handmade paper, thread, acrylic paint, marble dust 18 x 8 x 8 inches |
Most of the large pieces take almost a year or more to complete. Using fabric and acrylic medium she sculpts the wet fabric over an object and removes the object once the fabric is dry. All of the fabric forms are then sewn together by hand and stitched using the thread as a mark making tool to create three dimensional cross hatching and lines. From her statement:
"In many recent sewn works, a specific memory underlies each piece, and partially determines its particular character and color. These are memories of things that I have observed and then held in my mind's eye, sometimes for decades: they are the subtext of the work. Attempting to conjure a mental image into a physical object is an elusive process due to the fugitive, constantly shifting nature of memory.
Memories are only points of departure. It is the physical process of making the work that takes over, and has a life of its own. A work in progress could evolve for months, (even years); expanding, contracting, even recombining with cast off parts of itself. My objective is to stay in the moment, mindful of accident and chance,responding to what unfolds. The actual working with materials, and how that results in particulars of form and configuration, is what ultimately determines each piece."
Memories are only points of departure. It is the physical process of making the work that takes over, and has a life of its own. A work in progress could evolve for months, (even years); expanding, contracting, even recombining with cast off parts of itself. My objective is to stay in the moment, mindful of accident and chance,responding to what unfolds. The actual working with materials, and how that results in particulars of form and configuration, is what ultimately determines each piece."
I also really loved her drawings. In particular, the Chiaroscuro series I found breathtaking. Each large drawing is composed of tiny drawing on separate pieces of thin paper that are then pieced together.
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| Chiaroscuro (13) 1997 ink on collaged japanese paper 45 x 56 inches |
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| Chiaroscuro (26) 1998 ink on collaged japanese paper |
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| Chiaroscuro (10) 1997 ink on collaged japanese paper 34 x 18 inches |
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| Chiaroscuro (21) 1997 ink on collaged japanese paper 25 x 22 inches |
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| Chiaroscuro (5) 1996 ink on collaged japanese paper 54 x 44 inches |
Her 18th show at the Elizabeth Harris Gallery in New York City this November exhibited her return to ceramics after a 30 year hiatus.
"With this work, the vase is my muse.
These vases bring to fruition a project I've had in mind since childhood: to freely create a variety of vases conjured up at the moment rather than premeditated, with their configurations dictating what may be placed inside them--function both following and trying to catch up with form.
I have always been energized by the conflation and dissolving of categories: sculpture, drawing, painting. And in this case, adding to the mix: functionality. I seek the and, not the or. "
I have always been energized by the conflation and dissolving of categories: sculpture, drawing, painting. And in this case, adding to the mix: functionality. I seek the and, not the or. "
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| right: "Quixote", left: "Lip to Line" both works 2011 glazed ceramic Quixote: 5 1/2 x 7 x 7 inches, Lip to Line: 6 1/2 x 8 x 6 inches |
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(All photographs: www.elisadarrigo.com)
I love how all of her work, while utilizing different mediums and techniques, all have an underlying feel of textile quality to them. Even the drawings that are pieced together are reminiscent of the act of sewing/quilting.
I look forward to following her work and having the opportunity to see her pieces in person.
I love how all of her work, while utilizing different mediums and techniques, all have an underlying feel of textile quality to them. Even the drawings that are pieced together are reminiscent of the act of sewing/quilting.
I look forward to following her work and having the opportunity to see her pieces in person.
For more information and images visit www.elisadarrigo.com
1 comment:
Without your blog, I would not have been introduced to this wonderfully expressive artist. Thank you.
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