Makeda Duong

Foyer Gallery Exhibitions

Crossing Threads

21 July – 17 September

A group exhibition of contemporary textiles by four members of the Chopped Collective at Carclew Foyer Gallery 

Exhibition opening Thursday 30 July 5:30 - 7:00 pm
Curated by Lauren Mustillo 
Featuring Laurence Coffrant, Makeda Duong, Jess Gore and Alice Saltmarsh 

Having strong roots within the realm of women’s craft and domestic work, the constant presence of textiles within our daily lives sees this humble material too often overlooked as a subversive and contemporary medium.

The title of this exhibition, Crossing Threads, alludes to textiles ability to straddle the intersection between traditionally domestic ‘low’ art and contemporary ‘high’ art. Through this cross over, the artists of the Chopped Collective use textiles in experimental and versatile ways highlighting its ability to be both familiar and peculiar. 

Artist Statements

Laurence Coffrant

According to the Oxford Dictionary, the definition of textile is ‘a type of cloth or woven fabric.’ I think that a textile says more about the way in which something has been constructed, through a series of connections. Textiles provide the idea that a solid materials can be given strength and a hard material can be given softness. In this exhibition I demonstrate several different approaches to this idea. During my studies at the University of South Australia I was introduced to metal work and sculpture which has also provided new avenues for my work to follow. One of the biggest strengths of textiles is its ability, to lend itself to other mediums. The processes I use in my work tend to be slow and repetitive, a way of working, which allows me to form a strong connection to each piece.

Makeda Duong

I graduated from the South Australian School of Art in 2013 with a Bachelor of Visual Arts specialising in textiles. Recently I have completed a Helpmann Academy Emerging Artists Mentorship with Adelaide artist Sera Waters. My artistic practice explores textiles processes and their historical connections to the cultural development of femininity. Textiles in the western world has become intertwined with women’s lives, even influencing our sexuality. How did certain textiles embellishments, such as lace and embroidery, become so heavily gendered? And why is there reduced value of artworks made with ‘craft’ processes, compared to historically masculine processes such as painting? ‘Untitled’ (2014) is a comment on the place that crafts such as crochet have within the hierarchy of the art world. The stigma attached to certain textiles processes such as knitting manifests itself in terms such as ‘women’s work’ or ‘craft’. My current focus explores the parallels between the undervaluing of textiles processes and women’s ‘invisible work’ such as domestic chores and childcare.

Jess Gore

What do we see in symbols? What do we read in writing? This series of works explores out interpretation of art, and the embedded qualities of creative practice. Each diorama plays with the notions of utopic imagery through still life. The subject becomes the framing of the artwork and this act is subversive, intentionally disrupting the art space. I have translated the idea using paper, a delicate yet physical material that exemplifies the ability of textiles to life art into new dimensions. As the imagery frames the empty scene within, I am allowing the audience to invent their own interiors from words that define utopia, and question if art delivers on these expectations.

Alice Saltmarsh

A Timeline of Wear was inspired by my father’s old work shirt, stained from years of oil and grime, and accompanied by the pungent smell of the family shed (and the family of Brush Tailed Possums that lived within). Progressively showing evidence of being marked and torn, the work reflects memories of time intensive labour, and becomes a document of history. The making of this work played a major role in the development of my current textile practice; acquiring and repurposing used textiles on the brink of disposal. Dye Room Experiments is just that, experiments. The individual works speak of hours spent in the dye room, trying to dye a range of materials and hoping for success. It comes from a time of new discoveries as an artist, a document of time, of place, of failures and of triumphs.

Click here to read about Curator Lauren Mustillo

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Contact Details


info@carclew.org.au
08 8267 5111

Key Dates

  • Jul 21
    Sep 17
    EXHIBITION: Crossing Threads

    Venue

    Carclew, 11 Jeffcott Street, North Adelaide

    Description

    An exhibition in Carclew's Foyer Gallery

    Time

    Monday - Friday, 9am - 5pm