PLEASE NOTE: This workshop is registration-only. Click here to save your spot.
Tees & Tabs Workshop
Saturday, March 16
Workshop Hours: 1-5 pm
Fee: $40 registration
In conjunction with the exhibition Spirits in the Material World, featuring a series of seven garment-like works made from recycled t-shirt fabric and aluminum can pull-tabs, Nika Feldman offers this special workshop. Participants will learn how to let these idiosyncratic materials direct their creative process. Feldman will teach basic embroidery techniques. All supplies included.
This class is limited to 20 participants, so make sure to register early! The $40 registration fee reserves your spot.
Lisa Klakulak presents Since Taos: Contraction of Mass, Concision of Thought. The solo exhibition of 13 felt-based sculptureswascreated over a period of nearly two decades, since the freewheeling artist moved away from Taos, New Mexico in 2001. The collection simultaneously acts as a vivid portrait of Klakulak’s emotional journey and manifestation of her unique way of processing the world through fiber creations. “Like any piece of art you make, you are releasing an idea into the object,” Klakulak says. “It’s a completion of a certain cycle, and it’s interesting when someone on the other side spins it into their own emotive universe.” Klakulak’s work voices ideas about growth, human connection, mental stability, and the formation of personhood, as well as social commentary on issues of gender, income inequality, and culture.
Klakulak appears at a preview artist talk of Since Taos on Friday, February 22 from 4 to 5 pm. The opening reception directly follows, from 5 to 7 pm. The artist presents a registration-only felting workshop on February 23 and 24, 2019.
Lisa Klakulak appears at this special preview of Since Taos: Contraction of Mass, Concision of Thought, directly preceding the opening reception of the solo exhibition. The series of 13 felt-based sculptures was created over a period of nearly two decades, since the freewheeling artist moved away from Taos, New Mexico in 2001. Klakulak thinks of her life since that moment in distinct phases. “The works are all related to these leaps of faith that I have taken,” she says. “I want to think about, or articulate what I’m thinking about, in a manner that I can translate into a physical form.” Join her for an interactive tour of the show, just before its official debut.
Show dates: May 31-July 13, 2019 Submission deadline: March 5, 2019
The group exhibition Beyond Punch Cards offers an unexpected perspective on the relationship between textiles and technology. Curated by Francesca Rodriguez Sawaya and Renata de Carvalho Gaui of the ‘Weaving to Code, Coding to Weave’ project, the show unites an international group of artists to challenge common perceptions of both weaving and coding practices. Hosted by form & concept gallery in Santa Fe, New Mexico, the show is an official satellite exhibition of this year’s CURRENTS New Media Festival, an international showcase for new media artists that occupies El Museo Cultural de Santa Fe for two weeks each June.
Beyond Punch Cards appears at form & concept from May 31 to July 13, 2019. Rodriguez Sawaya and Carvalho Gaui will select a number of artists through an invitational process, but are also searching beyond their networks with this call for artists. Entries may be submitted through this Google form from February 5 through March 5, 2019.
“The analytical engine will weave algebraic patterns like jacquard looms weave flowers and leaves.”
– Ada Lovelace, mathematician & creator of the first computational algorithm
The first-ever computational algorithm was inspired by the Jacquard loom’s punch card system for weaving patterns. Since that pivotal “under/over” moment, artists, designers and technologists from across the globe have awed us by creatively exploring the links between weaving and coding. As a home of age-old weaving traditions and a more recent haven for new media artists, the Desert Southwest is fertile ground for an exhibition that conceptually interlaces these practices.
The ‘Weaving to Code, Coding to Weave’ project traveled to Santa Fe in 2018 to facilitate a workshop for the CURRENTS New Media Festival. The class reinforced their awareness of the established intersection between weaving and coding, as many of the weavers that attended were already familiar with the links between the practices. Partway through the workshop, the facilitators pivoted their lesson plan to radical case studies, exposing attendees to projects that re-imagine the relationship between textiles and technology.
This experience informed the development of Beyond Punch Cards. The curators ask, how can weaving and coding present new paradigms for viewing the world around us? How can they illustrate different identities, or keep cultures and history alive? Can these practices converge and evolve to resist obsolescence?
Through this exhibition, Rodriguez Sawaya and Renata de Carvalho Gaui hope to inspire audiences, showcasing projects that use technology to explore the contemporary significance of weaving.
This submission process is open to any and all artists who explore weaving and coding through their work. There is no entry fee. You may enter up to three pieces. 2D, 3D and video works are eligible. Work must have been completed prior to application submission. Work that is available for sale is preferred, but if your project fits the theme and is not commercially available, please submit!
February 5-March 5, 2019: Submission period.
March 17, 2019: Notification of acceptance
May 20, 2019: Selected artwork due to form & concept
May 31, 2019: Opening reception, 5-7 pm
July 13, 2019: Exhibition closes
July 31, 2019: All work received by artists (unless otherwise arranged)
Renata de Carvalho Gaui is an artist, designer and creative technologist from Rio de Janeiro. In recent years, she has worked on projects involving wearable technology research and design, educational and experiential exhibit design, and female empowerment.
Francesca Rodriguez Sawaya is a Peruvian designer and educator. She uses her skills as a technologist and storyteller to craft compelling narratives about sociocultural realities. Her work revolves around connecting the digital and physical spaces around us, as a way of bringing a more human approach to our digital world.
They both graduated from the Interactive Telecommunications Program at NYU, where they collaborated on artistic projects regarding female empowerment and identity, building bridges between craft and technology disciplines, and educational partnerships between ITP and public schools around New York. They were both organizers and facilitators for these projects.
formandconcept [at] gmail [dot] com
Join Arizona artist Erika Lynne Hanson for an artist talk on Saturday, May 26 from 2 to 3 pm. She discusses her solo exhibition Movement Choir: Landscape Scores, featuring fiber and new media artworks. Using a coded language, Hanson charts the paths of Cold War missile tests from Green River, Utah to White Sands, New Mexico. The rusty remnants, scattered over more than 600 miles of desert, represent open questions about the nature of humanity and our relationship to nature.
Arizona artist Erika Lynne Hanson weaves a hidden history of the Southwest into her solo exhibition Movement Choir: Landscape Scores. Using a coded language in her fiber and new media artworks, Hanson charts the paths of Cold War missile tests from Green River, Utah to White Sands, New Mexico. The rusty remnants, scattered over more than 600 miles of desert, represent open questions about the nature of humanity and our relationship to nature. Movement Choir: Landscape Scores debuts on Friday, May 25 from 5 to 7 pm, with an artist talk on Saturday, May 26, 2-3 pm.
The White Sands Missile Range is a world-famous site of military bomb testing, but its recent history is tied to an isolated village 600 miles to the north. For ten years during the Cold War, Green River, Utah was the launch site for test missiles that detonated in White Sands. That’s the reason Arizona artist Erika Lynne Hanson landed there for a month-long research project in 2017.
Hanson’s time in Green River marked the start of a major body of work regarding the scraps from the missile tests. In a new series of weavings and video artworks, Hanson uses a little-known language to inspire nuanced perspectives on these sites. Her artworks pose open questions about the nature of humanity and our relationship to nature. Movement Choir: Landscape Scores opens at form & concept on Friday, May 25 from 5 to 7 pm, and runs through June 23, 2018. Hanson will conduct an artist talk on Saturday, May 26 from 2 to 3 pm.
“Green River was the stage for a fascinating chapter in American history,” says Hanson. “We were quite literally bombing ourselves for a ten-year span.” During her stay in Green River, Hanson became fascinated with the considerable marks—both psychological and physical—that the project left on the community and its surroundings. “These parts of the missile would fall off and land in the landscape, leaving behind scars,” she says. Hanson researched the sites of this accidental jestam. She returned to her loom with a challenge: how to explore the significance of these unintentional land artworks through fiber?
Hanson is accustomed to tackling creative projects that span many miles and artistic mediums. She’s an Assistant Professor of Fibers and Socially Engaged Practice at Arizona State University, and also maintains a multidisciplinary artistic practice that has taken her from Alaska to Iceland. Broadly, her artworks propose potential connections between material, history and place. Recently that has manifested in a series of imagined dialogues between humans and different elements of the landscape. Before her Green River excursion, Hanson completed a project in White Sands, New Mexico where she planted gypsum-colored flags as tributes to the land.
“The idea is to say, ‘I will weave a flag in your honor, and then we will have a conversation,’” Hanson explains. “It’s a funny proposition to think that a human can broker a dialogue between, say, a gypsum crystal and the White Sands dunes. It never totally works, so it becomes an absurdist proposition. I’m in this landscape, I don’t fully understand it, but I’m going to try.” Flags appear in Hanson’s body of work for Movement Choir: Landscape Scores as well, though they’re more than just offerings.
To incorporate the story of the missile fragments into the work, the artist turned her banners into semaphores of sorts. She used the Labanotation system, invented by 20th century choreographer Rudolf Laban for dance performance scores, to indicate how the viewer might move their body through each site. Video artworks of Hanson planting the flags will also appear in the show. “By suggesting how the body might move through these spaces, I’m proposing potential connections amongst material, history, and place,” the artist says.
After all, Hanson points out, the places that were in the paths of the missiles were hardly empty. “They picked Green River to deploy these missiles because they said it went over the least amount of inhabited lands to reach White Sands,” she says. “It goes over all of this National Park and BLM land, so it’s not really uninhabited, it’s just uninhabited by people.” If the landscape could speak, Hanson wonders if it would complain about these rusty thorns in its side. “Is it a trauma when the landscape is hit with a missile?” she asks. “What does a rock care, or does it care? Maybe I’m just reflecting my mortality into this, which is a very short span in the face of geologic time.”
“75% of the women were labeled ‘unidentified.’ And that just struck a chord with me, how these lives and labors were lost.”
Unidentified Women made its debut in Santa Fe on January 26th. Fiber artist Jodi Colella appeared at the gallery for the opening reception and artist talk. Afterwards, she sat down with us to discuss the inspiration for her moving exhibition.
It started somewhere among the vast archives of the Historic Northampton Museum in Northampton, Massachusetts. Jodi Colella was working on an art project inspired by the museum’s headwear collection, and she stumbled upon a series of daguerreotype portraits. “They were like little 19th century selfies,” Colella says. “I noticed that all the men in the images had every single detail of their life listed in the catalog. About 80% of the women were labeled ‘unidentified.’” The artist was fascinated by these forgotten, female faces, and the contrast between the women’s fleeting social visibility and their invisibility to history. After hunting down similar portraits in flea markets and antique shops, Colella stitched intricate embroideries across the images, further obscuring the women’s identities.
It started somewhere among the vast archives of the Historic Northampton Museum in Northampton, Massachusetts. Fiber artist Jodi Colella was working on an art project inspired by the museum’s headwear collection, and she stumbled upon a series of daguerreotype portraits. “They were like little 19th century selfies,” Colella says. “I noticed that all the men in the images had every single detail of their life listed in the catalog. About 80% of the women were labeled ‘unidentified.’”
The artist was fascinated by these forgotten, female faces, and the contrast between the women’s fleeting social visibility and their invisibility to history. After hunting down similar portraits in flea markets and antique shops, Colella stitched intricate embroideries across the images, further obscuring the women’s identities. The body of work, titled Unidentified Women, makes its Santa Fe debut at form & concept on Friday, January 26 from 5-7 pm. Colella will appear at the opening reception, and also conduct an artist talk and preview on Thursday, January 25 from 2-3 pm.