As far back as I can remember I've been intrigued by texture. In fact one of my earliest memories is of running my hands over newly sawn logs, feeling the rough bark under my finger tips and watching wide eyed as the wood cutter chopped the logs into smaller pieces for kindling. So intrigued was I that I got too close and the inevitable happened. A flying splinter went into my eye and all hell broke loose.
I have another memory of thrusting my hands blindly into the mealie crib, savouring the cool knobbliness of the dried corn on the cobs ..... and the warm fur of an unsuspecting field mouse. All hell broke loose yet again.
My mother's voice still rings in my ears .... RobynnnnnDear, will you please keep your hands out of trouble!
There were so many wonderful things to touch and feel on the farm. Nests of downy feathers, warm smooth hen's eggs, baby animals, wriggly frogs, sacks filled with coarse mealie meal, orchards of good climbing trees and sun baked fruit, rusty wagon wheels, squishy clay moulded into oxen, warm prickly haystacks, cool stone walls ..... In fact the farm was one long tactile adventure.
No surprise that I love the tactile qualities of art. Delicious textures in many forms.
Yvette Hawkins, creates tactile sculptures and installations from folded paper.
Carved vintage bricks by Chris Berti. See more of Berti's work at the Tory Folliard Gallery, here.
Hollow Notes by Marc Wenet. See more of Marc's work here.
Danza Vessel. Handbuilt stoneware by Alexis Strong. See more here.
"I’m drawn to ancient vessels and containers because they hold a secret and mysterious history. The exquisite "art" that emerges from their utilitarian purpose is what inspires me." - Alexis Strong
Plate 21. Oils and mixed media on constructed board by Sam Lock. Website here.
30h3. Oils and mixed media on constructed board by Sam Lock. Website here.
Earth - Repition of an act of mourning (detail) by Barbara Wisnoski. Website here.
"I am interested in the relationship between texture and time. The process of building a piece, whereby a fabric loses its singular quality and becomes part of the whole, reminds me of how time washes a harmonious patina over objects and memories. The prospect of decay is key to the work: seeing how pieces done long ago have changed over time reminds me that they were made from living fibres and, like us, evolve and deteriorate. Also like us, these pieces become more themselves, therefore more beautiful, with age." - Barbara Wisnoski
Sharman's Dress by Mar Goman. See closer details here at the Francine Seders Gallery.
Installation by Fred Birchman. See the rest of the installation photographs at the Francine Seders Gallery, here.
This installation made me yearn for a studio where I can spread all my tools and wood about so that I can always feel the creative buzz ..... instead of having to set up and pack away.... set up and pack away on a daily basis.
"Although I am not interested in the nostalgia of these places, as most do not prompt memories of dramatic or trivial events, the alchemy of sawdust and grease, the haphazard organization of wood and metal objects and their mysterious functions attract in me a primal way." - Fred Birchman
Installation by Fred Birchman
Carved Totem by Robyn Gordon :-)