Friday, 23 December 2011

Lost in Lace

Lost in Lace at the Gas Hall,  Birmingham Museum and Art Gallery.

The entrance to the exhibition room

and then as you come inside, a curtain of lace

followed on your right, with lace wall and door by Francois Beroalde de Verville

Lace the final frontier,  Michael Brennand-Wood  (cutting, painting, aluminium, acrylic wood)

"My intention is to construct a military lace emblematic of conflict and the annexing of resources and territory.

Imagery for the roundels is drawn from three sources: lace, weaponry and Rorschach test".

After the dream, Chiharu Shiota, (wool, cotton, paint)

"My installations with clothes always refer to the clothes as a second skin, which carry the memories of the people who wore these clothes.

I am more interested in the lines, which are often represented in my work through black string. These strings are woven into each other, which can make it look a bit like lace, which is also intricately woven. The difference is that my strings are in a random pattern, whilst lace follows set designs and patterns".

The latticed eye of memory, Liz, Nilsson, (screen-printing, laser-printing, stitching, laser-cutting, embellishing, Viscose satin, thread)

"The principal concept for my work concerns memory traces. Lace has for a long time inspired me because it has an ethereal nature not unlike that of memory itself. For the Gas Hall at Birmingham Museum and Art Gallery, the shadows, cast by one fabric onto another or to the surrounding area, are reminders of the transcience of memory and experience!"

Lacing Space, Piper Shepard (Muslin, gesso, graphite, aluminium)

Inverted Chrystal Cathedral, Atelier Manferdini (designed using engineering platform ROBOT, assemblage 40,000 crystals, 1,000 strands of steel cable)

A thin line between Space and Matter, Tamar Frank

A very dark room, fibres of thread illuminated to form the most amazing construction. Frank Tamar specialises in site-sensitive installations which use light. "Like lace making I am in fact repeating the same action over and over. And, as with lace making, I am creating a work from a single thread, the pattern defined by the space between the threads: the emptiness".

1 comment:

  1. I wonder what Ms Havisham would have thought?