|full view, from designboom|
Akiko Ikeuchi knots silk thread in a process that takes up to a month for gallery installations. The works are room size scales and the work is so delicate and subtle which I think reflects the process of making it and the personality of the artist. The knots seem to reflect the daily disruptancies that one face, one by one, Ikeuchi documents these experiences into a a narrative of collective moments. One knot is one moment in time, brought together into a story. Stunning.
|detail of installation showing the knots, via here|
This is a google translation of the artist's own description of the work, from Japanese to English. I believe the translation is not completely accurate but I reckon you still get the just of the intent, in fact, it is very beautiful.
|Edith Derdyk, Slice, 2003|
4.000 meters of black cotton line, 2.800 stapples and 4 days of setting up
Arco Feira de Arte, Madrid, Spain
photo: Edith Derdyk
|Edith Derdyk, Rasures III, 1998|
60.000 meters of black cotton line, 10.000 stapples and 13 days of setting up
City Canibal, curator: Daniela Bousso
Paço das Artes, São Paulo, Brazil
photo: Gal Oppido
Paper, black cotton line, vinyl glue
50 x 180 cm
photo: Rômulo Fialdini
This is quite a full on description of her work by Arnaldo Artunes in his mini essay Cocoon, found here:
It all started with the paper being torn. After drawing for many years, and also after drawing with thread (adding its material meaning to its use – threads made of threads) as if embroidering the surface of the paper, Edith began to open incisions, filling them with blçack thread, in a paradoxical gesture – tearing so that the sewing could appear beneath the tearing) not the sewing of the tearing, but a sewing beneath the teraing), like surgical sutures within the deepest skin layers. The result were organic suggedtions, many times sexual (vaginas, incisions, wounds; the obscenity of interanl hair under the beardless surface of the paper). Then these incisions started to swell, as if the stitches were inflaming. The wounds that Edith had opened, suddenly became tumors, with ever more stretched relieves. Dark bulbs that leaped from within the translucid and delicate skin of the rice paper, with its dark lines keeping something that is always about to leak. As if paper were live bodies, from within which, depending on the depth of the tearing, some sort of guts would have to leap.
|Chiharu Shiota, In silence, 2009 |
centrepasquart, biel bienne, switzerland
Kanagawa Arts Foundation, in Kanagawa, Japan. (below). Of course, the process of making this space, the setting up and weaving of the wool is of particular interest for me but also the intent of Shiota, who wants to depict the sound of silence in space.Very beautiful.
|In Silence, Toshi Ichiyanagi x Unit2007, found here|
|Chiharu Shiota, "In Silence" (2008). Piano, Chairs, Wool|