Published 01 March 2019
Published 01 December 2018
Powerhouse Museum Curator of Textiles Lindie Ward discusses the groundbreaking 'Love Lace' exhibition on show at the Powerhouse until April 2013. A globally sourced series of works it showcases 130 designs for openwork structures from 20 countries.
Published March 2012
Drawing Studio and Program Co-ordinator at Monash University Stephen Garrett examines the optically challenging artworks of Caroline Durré which blend patterns and perspectives.
Australian Centre for Contemporary Art, Melbourne
21 December 2011 – 4 March 2012
Curator: Ruth McDougall with Maud Page and Russell Storer Gallery of Modern Art, Brisbane 1 October 2011 – 5 February 2012
Liverpool Street Gallery 3 – 23 December 2011
Critic and author John Neylon unpacks the long and illustrious career of Helen Fuller who has turned to handbuilding clay vessels in the last three years. He writes: "Responding to patterns of connection based on colour, shape, functionality, memory or caprice is the hallmark of Fuller’s behaviour as an artist. The pas de deux of pattern-based painting and patterning embedded within objects is a constant reminder of the role which patterning, particularly grid and checkered, continues to play in expressing an inner state of mind which simultaneously celebrates and defies a call to order. "
American artist Janet Echelman reshapes urban airspace with monumental, fluidly moving sculpture that responds to environmental forces including wind, water, and sunlight. The artist’s ongoing series of aerial net sculptures started in 1997 when she was in India as a Fulbright Scholar and became fascinated with the beauty and movement of traditional fishing nets. In 2011 her installation 'Tsunami 1.26' hung over the Town Hall traffic intersection in Sydney as a joint initiative of the Powerhouse Museum and Art and About Sydney.
Gallery of Modern Art, Brisbane
12 November 2011 – 19 February 2012
1 December - 17 December 2011
Media artist, techno-evangelist and digital nomad Fee Plumley responds to Mesne Design Studio's lacemaking environment 'Pricking Version 2.0' which is their answer to the question “what happens if you apply computational processes to the historical notion of craft?”.