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Winter Cornucopia | 02

Posted on: Tuesday, December 16, 2014

'Sifa Silver Turkish Cotton' handmade slippers and pattern from Bazaar Bayar
(sifa silver cotton yarn is available at Figgi Yarns)


The second installment of my winter 'cornucopia' gift guide featuring Lost in Fiber friends and inspirational finds. 



 

Lost in Fiber handmade shepherd bell wall hangings by Abigail Doan
currently available at the Loup Charmant Community Pop Up in NYC
(contact me directly for details on new pieces and custom orders)



The 'quid feci' plate by Daniel van Dijckdesignboom

Flatware and table settings by Daniel van Dijck | designboom


The alchemically, state-of the art Shabd | Magic Jar Dye Kit

Anything colorful and handmade by Archive New York

*all images courtesy of the artists | designers

The Material Realm for Spring | Summer 2015

Posted on: Monday, October 20, 2014

Detail of Titania Inglis ceramic petal collaboration with Studio Joo
All handmade elements made in Brooklyn. Photo by Elaine Tian of Studio Joo.

Even though I adopted a 'slow approach' to fashion week events this past September, I was definitely enthusiastically taking note of textile innovation as well as design collaborations that honored handwork, material resourcefulness, and even historic crafting techniques.

My recent article for HAND/EYE Magazine explores just a few of these ideas in the article, The Material Realm for Spring | Summer 2015. Many of my favorite artists, designers, and studio innovators have come together for these featured designs.


Shibori-died jacket as a collaboration between designer Alice Waese 
and in-house dyer and creative assistant, Cara Marie Piazza

Signature handwork – particularly the strategic partnering of visionary artists and designers was, for me, one of the most striking indicators that contemporary fashion can continue inspire us to journey deeper and farther afield when new ideas are reinforced by the experience of artisan hands and traditions that demonstrate the value of staying the course, both aesthetically and technically. The intrigue of handmade solutions and interwoven expressions continues to redefine the possibilities for ‘luxurious’ offerings that also ground us.

You can enjoy the entire article here. Images courtesy of the designers.

Lost in Fiber | Interview | Slow Creations

Posted on: Wednesday, October 08, 2014

Lost in Fiber work table with a 'slow creations print', dried vegetation from Bulgaria,
knotted wool from my own stash, and detail of a macramé net bag
from Ranran design in Spain | photo by Abigail Doan


This is the first of several autumn installments in an ongoing series of interviews with Lost in Fiber materials contributors. I am so excited to share the work of Petra of slow creations in Sweden, who I first met during a Stockholm meet up in June of 2013. We had been virtual friends for some time, but it was tremendously valuable to finally connect in person to share ideas about the nature of textiles, slow fashion methodology, and the curation of objects and personal artifacts. 

Here is my early October interview with Petra, whose exquisite images explore the blurred intersections of textured palettes, memories of place, the organic realm, and what might creatively sustain us.

AD: Might you share five objects or artifacts that you currently have in your studio or home – particularly as forms that you feel resonate with your studio work and current investigations?

SCFor the moment I do not have a separate studio per se, but I do have an overloaded table in my apartment kitchen with my textile stuff like my sewing machine and materials for natural dyeing. Because I tend to squeeze in creative work every now and then, it is easiest not to have to go away to a studio. I like the idea of trying to find something new in everyday life or things that are not considered to be especially beautiful (like electric cabinets with graffiti). So this (inspiration) might not be typical artifacts, but more like phenomena.



I observe my son´s creative process on a daily basis as he draws constantly. This personal act is as important as eating is for him (or more so, as he told me yesterday). I recognize in myself that inner urge.


I am also a stone collector, and although I seldom actually look at them, the very act of collecting them and having them is pure bliss for me. It makes me feel very connected to my roots, too, as most of them were found at the island of Gotland in the Baltic Sea, where my mother was born. I also think rather much about time and vanity. The fossilized stones are a perfect symbol of that.


I also love books ... especially those about textiles, fashion, and art ... the presence of books makes me feel quite comfortable. If I had to choose one, I would say Taschen's monumental volume about the collections of the Kyoto Costume Institute (a gift from Petra's husband, pictured above).

My tools are, of course, important too, i.e. the glass containers that I use for solar dyeing and the rusty objects (tin cans, nails, etc.) that always add ‘nerve’ to the natural dyeing.

This is very ephemeral, but I love to see the light and shadows playing at home and the wonderful view from the apartment (to the street and to the church outside, with big trees growing and changing in the seasons).

Artist | Maker Profile : Viktor Popov

Posted on: Wednesday, September 10, 2014

'Mountain Behind The River' unique print on handmade paper (2010) | Viktor Popov 

The art of keen observation and our willingness to (silently) witness the slow passage of time seems to forever be slipping away in contemporary life. The architectural patinas and faded textures that we pass by every day often serve as reminders that simply stopping to look and remember might reveal a vitally complex topography laden with ancient solutions.



Artist Viktor Popov (Виктор Попов) wisely understands this richness and the layering of fleeting possibilities. His latest exhibition, My World | Моят свят, currently on view at ART 36 Gallery in Sofia, Bulgaria (10 to 23 September) exquisitely preserves his haunting discoveries – documented and translated via the old walls and street surfaces of Beijing, Venice, and Macao.




Popov's alchemical process of developing his photographic prints on traditional Chinese paper (reminiscent of the ritualistic practice of 'stretching silk across ruined walls') allows for ephemeral narratives and fragile moments of a strikingly resilient and global nature. The ancient peelings or figurative forms which emerge, i.e. the 'poetics of myth' serve as a reminder that as borderless beings we might aim to environmentally and mythically extract a new (deeper) sense of connection and continuity in our rapidly changing world.


' A Man Among The Trees' | Viktor Popov 

My World | Моят свят will be the third solo exhibition of this celebrated Bulgarian artist who currently resides in Beijing but travels frequently to immerse himself in these increasingly endangered moments. Updates to the exhibition's event page might be found here.

All images courtesy of Viktor Popov.

Summer Intersections

Posted on: Tuesday, July 22, 2014

Nordsee (Germany, 2006) | Josef Hoflehner Photography

Lucy Simpson | 'Materials Led' Textiles | photo via Lucy Simpson




Gamma Folk | 2014 Collection Three | photo courtesy of Gamma Folk

Summer is all about the intersection of good (handmade) things and experiences that go beyond the surface. Please enjoy a selection of a few favorite makers and current projects that are inspiring me during the depths of July.

Lost in Fiber | Interview | Cara Marie Piazza

Posted on: Thursday, July 10, 2014

Cara Marie Piazza natural dye collaboration with Loup Charmant

This is the second installment in an ongoing series of interviews with Lost in Fiber materials contributors. In the case of Brooklyn-based natural dyer and textile designer, Cara Marie Piazza, I was curious to learn more about the range of objects that Cara artfully surrounds herself with, her innovative methods of foraging and exploring color, and the creative ways that she resourcefully navigates her world.

AD: Might you share five objects or artifacts that you currently have in your studio or home – particularly as forms that you feel resonate with your studio work and current investigations?



CM: Dried flowers and seed pods; the book Converging Lines: Eva Hesse and Sol Lewitt; a Pyrite rock formation; wood blocks; and a Tuareg medallion from a recent trip to Marrakech.


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