Welcome to the blog of Spike Dennis; an artist and sometime curator. Trained in London Spike has exhibited widely, from London to Los Angeles, and has delivered projects from Cardiff to Stockholm, for organisations including the Illustration Research network and Cardiff Design Festival amongst Others.
Embroidered photographs aren’t a new thing; in fact there are quite a few artists combining stitch and photography at the momennt. I do like a well executed animated GIF though and these images by Japanese artist Mana Morimoto combine this digital medium with embroidered photographs to great effect.
I don’t know much about this artists work but I really like what I’ve seen on her Tumblr page so far. As I understand it she uses images found via Google search for her embroidered photographs which she then prints off, re-interprets with thread, and then digitally scans the resulting image.
I’ve been tinkering with some different grounds as I look to develop some new work. In this instance I have been playing with plastic canvas as it offers some structural qualities that can’t so easily be achieved with fabric. Unlike raw linen though it isn’t available in such fine count. This particular example works out at about 10 stitches per inch.
A new issue to consider when working with this plastic canvas is how to finish the edges. Unlike fabric it can’t be wrapped around a board to be stretched and mounted and you wouldn’t really want any of the material showing. Common consensus seems to be that an overcast stitch or whip stitch should be used to finish the edge of the material or to join two pieces. I’m not quite sure if this will work for what I have in mind but I’m going to give it a go with a couple of test pieces.
‘Like it or Not’ is a single by Australian indie band Architecture in Helsinki. I actually own one of their early albums so I’m surprised to have only just come across this video for ‘Like it or Not’.
The video has been produced by fellow Australians Maricor Maricar who are well known for their graphic style of embroidery. They combine illustrative and typographic elements with embroidery to great effect.
I’ve only ever tinkered with animating embroideries on a very small scale to create GIFs and the like. Whilst the elements in this video are relatively simple in appearance there is clearly a lot of work that has gone in to it.
“Oracle”, Mixed media including goat skin, stones and wool
Muriel Decaillet Textile Artist
Muriel Decaillet is a textile artist from Geneva, Switzerland, who works with textiles and creates vibrant multimedia installations. She says that she aims to “express emotions and sketch intimate representations, grazing the universe of femininity and its complexity“.
Muriel’s installations combine traditional two dimensional embroidered canvases with elements that creep out into the space exploring the architecture of their surroundings, often making use of a diverse range of materials. Her work investigates the roots of humanity, our bestial nature, the mystique surrounding our deities and related matriarchal themes that stem from some of these sources of interest.
“Griffons”, Wool on Canvas
These themes can be seen visualised through her use of bestial references to mythical creatures, a repeated use of red thread or yarn, and the use of dolls/female figures in her installations. The use of anthropomorphic mythological creatures is particularly of interest to me in as much as I have used related motifs to explore aspects of our bestial nature.
“Sphinx”, Wool on Canvas
Detail: Out of the Shadows”, mixed media installation
I really like the look of Muriel’s installation “Out of the Shadows” which aims to question different aspects of female identities and makes use of some interesting material combinations. It the centre of the work is a giant day embroidered lampshade which is embellished with laces, hooks, and stockings, and around the lampshade, elements with strong erotic connotations occupy space in a play of shadow and light.
She says that this installation readily references myths and tales, as an exploration of the human psyche through imagined landscapes, and that “all parts of the work present a field of investigation relating to symbols, taboos, perception and vitality of female sexuality and, further, to those of female identity in general”.
I’ve been assisting Layla Holzer with production of her latest film project, Punch and Judy.
We previously collaborated to produce a traditional Punch and Judy glove puppet show as a part of the Pack of Wolves’ Once Upon Again exhibition. You can view a video of that performance here.
Layla’s latest interpretation of Punch and Judy combines live performance with puppetry to explore themes of gender conflict and patriarchy. You can see a an image of Layla dressed as Punch wielding her phallic club above.
As well as being behind the camera for this project I also provided the irritating nasal voice for Punch. You can listen to a snippet of my audio below.
The monster does not need the hero. It is the hero that needs him for his very existence. When the hero confronts the monster, he has yet neither power nor knowledge, the monster is his secret father who will invest him with a power and knowledge that can belong to one man only, and that only the monster can give.
Kathryn Shinko . The words are taken from text messages that she received from an acquaintance called Mike.
Like I’ve been doing with my Unicorn Dating series Kathryn has adopted the format of traditional hand embroidered samplers but having replaced the proverb or religious text with the words from the text messages she received. She has framed the messages with bold and intricate hand embroidered borders which are sexually suggestive:
Framing each message is an embroidered border that starts out as faintly sexual, and then becomes more aggressive, strange, and perverted as the text messages continue. By the third sampler, the situation has obviously gotten out of control. Mike is proposing some very explicit sexual acts, and my anxiety and unsettled feelings about them is shown in the vicious, sinister shapes of the border.
In a similar vein to some of my own work Kathryn is exploring the way men and women conduct themselves in a society in which is becoming increasingly connected through new and developing technologies which are constantly changing and challenging our moral boundaries.
She also highlights the dichotomy between the hours taken to complete these embroidered panels in comparison to seconds in which the original text message was written and delivered. The speed of life seems to be ever increasing and so a time intensive method of making like embroidery makes for a poignant medium through which to reflect.