Showing posts with label islamic design. Show all posts
Showing posts with label islamic design. Show all posts

April 24, 2016

Woman with Scarab / Grace


"Woman with Scarab" 2016

"Grace" 2016


I have immortal longings in me.  —Shakespeare


“Woman With Scarab” and “Grace” were each hand stitched on a hoop frame. Because they are a smaller size than my usual work, I brought these pieces with me to work on when I traveled. With both of them, I’m interested in playing with contrasting and harmonizing patterns and colors and I chose the images and designs more for visual reasons than for any particular symbolic meaning. Although the Egyptian scarab and the Islamic motifs evoke distinct cultures, here they represent “Culture” in a general way, just as the portraits, taken out of context, no longer represent a specific person. 

The figure in “Woman With Scarab” references the painting “Portrait of a Young Woman” by Antonio Pollaiolo, 1475. She is stitched with small squares that mimic mosaic tiles and is juxtaposed on top of a geometric pattern. I created the design of the dress using an Islamic floral pattern and added a large scarab to her hair. 

The figure in “Grace” comes from a photograph of an unnamed woman in the book “Portraits of the Insane, the Case of Dr. Diamond”, who I used as my model. I find that there is an incongruent and transcendent joy and grace that emanates from her, and I wanted to capture some of it in my stitching. I worked on this piece when I visited my dying mother, and that changed the way that I came to interpret its meaning. The background is an imperfectly copied Islamic geometric design that I think perfectly symbolizes the pulsing energy of the universe. I added the chicken because I liked the way it related to the pattern of the dress, but I later thought: the chicken is going home to roost.

June 3, 2015

Dancer



"Dancer" 2015




"The world is holy. We are holy. All life is holy. Daily prayers are delivered on the lips of breaking waves, the whisperings of grasses, the shimmering of leaves."  -Terry Tempest Williams



I made "Dancer" using both fill and line stitch on a design that was transferred onto the fabric by the carbon paper method. The central figure is directly influenced by the image, shown below, from a painted fresco mural in the Quseir Amra castle in Jordan (early 8th century).
In the mural the female figure is topless and she holds up a bowl. I added a full dress for design reasons and changed the bowl into a walrus. The background is a modified Islamic geometric pattern.

The "Dancer" In this piece represents the Great Mother archetype, rescuing a drowning walrus. I used the infinity symbol on the border, which mirrors the shape of the figure and the belt design, and refers to the divine mystery that surrounds and underlies the dream of the world.








Link to World Heritage Conservation about Quseir Amra

Link to information about the Pacific Walrus endangered status
http://www.endangered.org/animal/pacific-walrus/

May 11, 2014

Under Siege

"Under Siege" 2014



I titled this piece "Under Siege" because with the exception of one subspecies of African white rhinoceros, all five rhinoceros species in the world are in danger of being hunted by poachers for their horns, and three of the species are listed as critically endangered. In keeping with the theme of the title I overlaid the image of the rhino with a design I took from Palestinian embroidery. The background is a modified Islamic geometric pattern with rhino horns for the border. 



This is the first piece I've stitched on fabric rather than paper. To get the design on the fabric I used a transfer pencil to trace from a xerox collage. It was then ironed (in reverse) onto the fabric, with the border added later. Because the process is new for me, with such a complicated design and relatively large size -13"x17"- it was a challenge, and it took me a lot longer to make than I was expecting!



Below are the images I referenced including the xerox collage. The Palestinian embroidery design is from the book "Embroidery from Palestine" by Shelagh Weir.











March 17, 2013

Paper and Thread

       This work, made by hand-stitching cotton thread on colored rice paper, is the beginning of a new medium and process for me. In some of these pieces I combined images from distinctly different cultural contexts. I am interested in the idea of civilization and its art and artifacts, identity and our collective humanity.