Jay Mohler creates intricate, textile designs, weaving different colored yarns to create brilliant Mandalas. His geometric patterns create Ojos de Dios, Spanish for eyes of God, that are either eight sided of twelve sides, spanning up to over a foot. Mohler began hand-making his Ojos de Dios over 40 years ago, after he traveled to Guadalajara, Mexico in 1965. At a marketplace there is where he first saw these fantastic, small-scale weavings. He was extremely impressed by the complex patterns and how often they would be created from a single strand of yarn, crossing and looping over the wooden sticks that hold it all together. The beautiful Ojos de Dios can be found in many cultures, traditionally in Native American and Mexican as well as Tibetan, where they can hold spiritual elements. They are also a symbol of a physical eye, as the designs of the weavings revolve around the center “eye.”
Based out of North Caroline, Jay Mohler uses wool yarn in all types of colors, including metallics, to carefully weave his vibrant creations. You can buy an Ojos de Dios for your own on his Etsy page, where you can also order custom made patterns and even buy a DIY kit to make your own. Make sure to check out more of his weavings to see the scale and size of his many creations. (via The Jealous Curator)
Australian artist Meredith Woolnough uses embroidery to create her delicate and intricate depictions of different plants. With some thread and a sewing machine, she forms different complex patterns found in nature, such as the veins of a leaf, patterns found in coral, and even lines and shapes found in red cabbage. Each fragile piece displays the small beauty found in the fine details of nature. What would be small, fragile beauty that the average person may overlook, Woolnough finds inspiration. Patterns from shells, petals, and lily pads are given new life in each breathtaking piece. The artist treats her artwork like specimens, as she carefully pins them under glass in shadow boxes for display.
Using vibrant colored thread, she builds up a density of embroidered patterns that become almost three-dimensional. In some cases, like in her embroidered bowls, the work really does have volume as it holds the shape of a bowl. Because of the method in which the artist creates her work, it demands an intense patience that can be seen as meditative. The repetitive patterns and natural quality of Woolnough’s work is like that of a Mandala, holding sacred qualities.
The work maps the frameworks of the various veining systems found in nature to create work that explores the balance, harmony and connectivity of life on Earth. Inspired by the patterns, structures and shapes found in plants, coral, cells and shells Meredith’s embroideries represent both the robust beauty and elegant fragility of life.
Jess de Wahls is a London-based artist whose colorful multilayered and multifaceted textile works incorporate feminism, gender equality as well as recycling. Using a variety of fabrics, beads, and other materials, she creates 3D portraits that depict strong, inspirational women of all ages, shapes, and ethnicities. She sees her pieces as a way to raise awareness of gender inequality, explaining to TextileArtist.org, “…all the while celebrating great minds and artists of the past and present.”
In her artist statement, de Wahls also goes on to say:
Their influence on myself as a modern woman, Feminist and Artist, on Feminism as a whole and on their position as Role models to young girls growing up in a society that has, no doubt, come a long way in liberating its women but has yet a great length ahead of it. Not to mention the work that needs to be done in other parts of our planet, where women are to date still oppressed, belittled and generally treated as second class humans.
So, by creating these pieces, she ensures that their legacy isn’t forgotten.
De Wahls unique style is the product of a self-made called Retex which is short for recycled textile sculpture. She explains:
For the medium of Retex Sculpting, old garments serve as fabric for the works and cushion filler helps me to create a relief that raises the silhouette off the canvas creating greater depth.
The box-frame, in which the work is mounted, is integral to the piece and can be seen as a modern day relic box. (Via TextileArtist.org)
In artist Eleanor Davies’ piece titled Over 200 Beautiful Colors, she crafts a traditional yarn pom pom (like something you’d see on a beanie), but on steroids. Using wool, newspaper, and rope, Davies wraps donut-shaped discs with yarn and stacks them on top of one another. They become a mountain of wound wool, and finally she cuts the edges of every disc. This releases the fibers around the cardboard, and they form a larger-than-life ball of fringe.
The result of this tedious effort is something that you want to touch and maybe even hug. And, that’s Davies’ intention. She wants the viewer to desire an interaction with it. But, at the same time, she also wants to you to feel some sort of repulsion to it. Even though it’s a magnificent and incredible piece, you compare it to what other smaller, more perky-looking pom poms look like. This, in all its glory, droops as gravity has got the best of it. “The oscillation between attraction and repulsion is experienced through the disruption of taste values,” Davies writes in an artist statement. “Sculptures seek attention and flaunt themselves in such a way that they ask for it.”
The slow and meticulous construction of Over 200 Beautiful Colors is akin to a beautiful regime. Davies goes on to say:
In appropriating the sculpting techniques of hairdressing; extensions and highlights are added to slowly modify and enhance a sculpture’s look. The compulsive desire to reconfigure, reinvent, re-cut and re-colour is due to the satisfaction gained through succumbing to the lure of the surface. The process of overworking the sculptural surface is self indulgent and my practice embraces and revels in this.
Artist Yoon Ji Seon crafts her collection of self-portraits by intricately stitching photographs with a sewing machine. It’s an ongoing series titled Rag Face, and her facial expressions change with every piece. While they appear to us as similar-looking individuals, Seon changes it up with different colors and hairstyles. Despite these idiosyncrasies, each portrait has the same features. Most notably, these are hanging threads that mimic hair or tattered rags. The multiple layers of colors and stitches give these works a painterly effect, as if they are gestural and loosely handled; Seon obscures her images by working with her materials in this way.
In 2015, the artist will have a show at the Yossi Milo Gallery in New York City. They describe the her underlying concepts:
By sewing the photograph, a second image is generated on the back that is both a reflection of the front and a completely new image. The two images, combined with the original photograph as a third representation, recall the Buddhist theory that an object exists in many forms and there is no true form. Yoon Ji Seon’s work addresses Buddhist ideology deeply rooted in contemporary Korean society and confronts issues such as plastic surgery and suppression of speech. (Via My Amp Goes to 11)
Quilting is a time-honored craft that uses scraps of fabric to form a pieced-together image. The designs are often geometric patterns or more complex images that have been appliqued onto the textile. Artist Ben Venom works in this well-known realm, but instead of adhering to tradition, he creates quilts that are beyond your typical subject matter. Venom takes heavy metal and motorcycle t-shirts, cuts them up, and fashions them into spectacular handmade pieces. He writes about it in a short artist statement:
I’m interested in juxtaposing traditional handmade crafts with extreme elements found on the fringes of society. My work can be described as opposing forces colliding at lightening speed. Imagery found in vintage tattoos, the occult, and motorcycle gangs are stitched together with recycled materials using techniques usually relegated to your Grandmothers sewing circle. Serious, yet attempting to take on a B movie Horror film style where ridiculousness becomes genius. The question remains… Can I play with madness? (Via Boooooom)
Sally Hewett is a UK-based embroider who gives new meaning to a sculptural approach to the craft. Instead of stitching subject matter like flowers, puppies, and generally happy scenes, she fills embroidery hoops with butts, breasts, and genatalia. The circular compositions rise from the surface and Hewett uses well-placed stitches to give form to these bulbous shapes. In addition, she’ll use dangling threads to simulate public hair, both trimmed and natural.
In her artist statement, Hewett states that she’s interested in ideas of beauty and the things that people do because of it. She writes:
Men and women almost ritualistically shave and remove hair from their bodies – beards, underarm hair, pubic hair, leg hair etc, whereas other hair – hair on the head, eyebrows, eyelashes – are valued and encouraged to flourish. But there is other hair which not everyone has. Sometimes this special hair seems to be reason to feel ashamed. A large number of women and men submit their bodies to extraordinary procedures in the name of convention or beauty – liposuction, implants, scarification, surgery, laser treatment, electrolysis etc.
Embroidery is often see as an innocuous craft, and part of the reason that Hewett works this way is to see how the medium affects how the content is seen. Is it more shocking, amusing, or beautiful simply because it’s portrayed with a needle and thread?
During the summer, Milwaukee-based fiber artist Molly Evans began to rise early in the morning, on the hunt for discarded furniture to embroider with lyrics from Lionel Richie songs. Dubbed “#LionelStitchie,” her project first began when she set out to entertain a grumpy neighbor by transforming their abandoned, seemingly unlovable couch into something more lovable. She has since embroidered many discarded pieces with these love lyrics, giving a voice to unwanted domestic objects.
‘These bulky discards were the remains of university graduates moving on to new chapters, of families starting over with fresh styles, and of people letting go of emotional attachments to tired possessions. I identified with this process of reestablishment and sought to call attention to this important narrative in progress all around the city,’ Molly explains.(via ignant)