TURKIYEMUZIK – Page 2

Adrienna Matzeg’s Punch Needle Embroideries Conjure Nostalgic Summer Road Trips

No matter where the map directs you, a road trip usually conjures some key elements that make it unique from any other kind of journey. Think quirky roadside attractions, diners, spontaneous snack stops, scenic views, national parks—the list goes on!

For Adrienna Matzeg, summertime trips inspire a new series of punch needle embroidery works (previously) in a collection titled The Scenic Route, now available through Tacit Collective.

The Toronto-based artist merges her interests in photography, textiles, and design to create vibrant, narrative embroidery compositions. “Through reducing the subject matter in her work to simplified colours, shapes, and fragments, she explores how we recall memories, with a specific interest in travel destinations and souvenirs,” says a gallery statement.

In works like “Catch of the Day,” Matzeg evokes the timeless experience of a pint of brew and a gingham-lined basket of freshly battered fish. “Lighthouse Route” captures a scenic byway sign, and in “The Afterglow,” a grocery store sign advertises summer vacation staples like ice cream cones and pizza by the slice.

Pieces in The Scenic Route hint at simple joys, brief pauses, and the fading light of day, evoking “in-between” experiences that may seem ordinary enough at the moment but linger in the memory long after summer ends.

Explore more on the artist’s website and Instagram.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Adrienna Matzeg’s Punch Needle Embroideries Conjure Nostalgic Summer Road Trips appeared first on Colossal.

Timing is Everything in Eric Kogan’s Coincidental Photos of New York City

On daily walks around New York City, Eric Kogan has a knack for finding unexpected moments of humor and happenstance. His playful photographs (previously) capture visual coincidences and interactions between his urban surroundings and nature.

From clouds seemingly cradled by electrical wires to the moon balanced precariously on the corner of a building, Kogan’s scenes highlight how perspective, light, and excellent timing can capture a lighthearted, even mischievous view of the city. Find more on his website and Instagram.

a photograph of a corner of a building at night, with the moon perched on the tip of it

a photograph of electrical wires that appear to be cradling a single white cloud in a blue sky

a vertical photograph of a shadow of a tree that appears to be growing out of an empty planter

a vertical photograph of a pair or pigeons sitting on a fence, facing opposite directions, with a giant white "X" in the background that mimics their arrangement

a photograph of a brick street with a small puddle in the middle of the image, with a window reflected in the water

a photograph of a bronze sculpture of a monk in prayer, with a flower near him so that he appears to be smelling the bloom

a photograph of a window with blinds inside, with the reflection of a tree that mimics the way the blinds appear to be pulled down and bent

a vertical photograph of a tall building with a stack of round windows, photographed at dusk with the moon hovering just above the building as if it's another window

a vertical photograph of clouds captured through a window of a building

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Timing is Everything in Eric Kogan’s Coincidental Photos of New York City appeared first on Colossal.

Charles Gaines Maps the Meanings of Ancient Baobab Trees in Meticulous Charts

Since the 1970s, Charles Gaines (previously) has been charting the sprawling, unpredictable forms of trees onto numbered grids. He began with walnut trees in 1975, which he photographed while barren and then plotted onto hand-drawn graph paper.

A leader in the Conceptual Art movement, Gaines’ works ask viewers to explore the relationships between what something appears to be and what it means as it shifts from one context to the next. He also argues for a greater divide between subjectivity and aesthetics, instead emphasizing culture’s immense role in shaping our experiences.

a detail of a grayscale tree layered atop a colorful numbered grid — Detail of “Numbers and Trees: Tanzania Series 1, Baobab, Tree #4, Maasai” (2024), acrylic sheet, acrylic paint, photograph, 3 parts, 95 x 132 1/4 x 5 3/4 inches. Photo by Fredrik Nilsen

In his ongoing Numbers and Trees series, Gaines continues to chart differences. During a 2023 visit to Tanzania, the artist photographed majestic baobabs, which form the basis for a collection of triptychs that entwine the magnificent specimens with colorfully numbered grids. Gnarled trunks and spindly offshoots both layer atop and are masked by Gaines’ sequences, all viewed through sheets of plexiglass.

The baobab is known as “the tree of life” for its longevity, myriad roles in preserving the savanna ecosystem, and ability to host entire habitats within its canopies. The specimens are often associated with folklore and myth and in the era of climate disaster, are some of the casualties of unrelenting drought. Depending on location, epoch, and community, the trees can serve a wide array of purposes and hold a multitude of symbolism.

Icons of the African continent, baobabs also connect to histories of colonialism and slavery. In this context, they’re distorted and mediated by both Gaines’ organizing principles and the acrylic panes. “What you bring to the image, adds to the image,” the artist says.

Numbers and Trees, The Tanzania Baobabs is on view from February 19 to May 24 at Hauser & Wirth West Hollywood.

a grayscale tree layered atop a pink and purple numbered grid with a shadow of a tree printed on it. a plexiglass layer sits atop it all — “Numbers and Trees: Tanzania Series 1, Baobab, Tree #7, Makonde” (2024), acrylic sheet, acrylic paint, photograph, 3 parts, 95 x 132 1/4 x 5 3/4 inches. Photo by Keith Lubow

a detail of a grayscale tree layered atop a pink and purple numbered grid with a shadow of a tree printed on it — Detail of “Numbers and Trees: Tanzania Series 1, Baobab, Tree #7, Makonde” (2024), 95 x 132 1/4 x 5 3/4 inches. Photo by Keith Lubow

a grayscale tree layered atop a yellow and blue numbered grid with a shadow of a tree printed on it. a plexiglass layer sits atop it all — “Numbers and Trees: Tanzania Series 1, Baobab, Tree #3, Tongwe” (2024), acrylic sheet, acrylic paint, photograph, 3 parts, 95 x 132 1/4 x 5 3/4 inches. Photo by Fredrik Nilsen

Detail of “Numbers and Trees: Tanzania Series 1, Baobab, Tree #3, Tongwe” (2024), acrylic sheet, acrylic paint, photograph, 3 parts, 95 x 132 1/4 x 5 3/4 inches. Photo by Fredrik Nilsen

a grayscale tree layered atop a blue numbered grid with a shadow of a tree printed on it. a plexiglass layer sits atop it all — “Numbers and Trees: Tanzania Series 1, Baobab, Tree #2, Zanaki” (2024), acrylic sheet, acrylic paint, photograph, 3 parts, 95 x 132 1/4 x 5 3/4 inches. Photo by Keith Lubow

Detail of a a grayscale tree layered atop a blue numbered grid with a shadow of a tree printed on it — Detail of “Numbers and Trees: Tanzania Series 1, Baobab, Tree #2, Zanaki” (2024), acrylic sheet, acrylic paint, photograph, 3 parts, 95 x 132 1/4 x 5 3/4 inches. Photo by Keith Lubow

a grayscale tree layered atop a blue, purple, and green numbered grid with a shadow of a tree printed on it. a plexiglass layer sits atop it all — “Numbers and Trees: Tanzania Series 1, Baobab, Tree #5, Rangi” (2024), acrylic sheet, acrylic paint, photograph, 3 parts, 95 x 132 1/4 x 5 3/4 inches. Photo by Fredrik Nilsen

Detail of a a grayscale tree layered atop a blue and purple numbered grid with a shadow of a tree printed on it — Detail of “Numbers and Trees: Tanzania Series 1, Baobab, Tree #5, Rangi” (2024), acrylic sheet, acrylic paint, photograph, 3 parts, 95 x 132 1/4 x 5 3/4 inches. Photo by Fredrik Nilsen

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Charles Gaines Maps the Meanings of Ancient Baobab Trees in Meticulous Charts appeared first on Colossal.

Watery Landscapes Set the Stage for Lachlan Turczan’s Ephemeral Light Installations

In the dreamy installations of Lachlan Turczan, natural and perceptual phenomena combine in otherworldly installations merging technology with aquatic landscapes. Water is central to the Los Angeles-based artist’s work and helps shape an ongoing series of immersive projects incorporating light and sonic phenomena.

Turczan is influenced by the Light and Space movement, which originated in Southern California in the 1960s and is characterized by the work of John McLaughlin, Robert Irwin, James Turrell, Lita Albuquerque, and more. The movement focused on perception, employing materials like glass, neon, resin, acrylic, and fluorescent lights to emphasize light, volume, and scale.

a landscape at dusk with a body of water that has geometric beams of light projected onto it in intersecting pink and blue lines, creating a grid of bright lights on the surface of the water — “Constellation Grid” (2024), water, light, and fog. A swamp in Upstate New York

Many Light and Space artists created installations and immersive spaces conditioned by naturally occurring elements like Turrell’s ever-changing glimpse of the sky through a ceiling aperture for “Space that Sees.” Not only does the view change as clouds roll by or the weather shifts, but the light continuously transforms the entire room.

“While my work shares this lineage,” Turczan tells Colossal, “it diverges in several key ways: rather than exploring the ‘nature of experience,’ I create experiences of nature that challenge our understanding of light, water, and space.” He describes his approach as “complicating” these elements, emphasizing the ever-changing fluidity of the environment.

In Turczan’s ongoing Veil series, light installations unfold organically in locations ranging from Death Valley’s Badwater Basin to a flooded park near the Rhine River. Lasers and beams of light are projected and submerged, capturing the movement of wind, mist, and the water’s surface.

Additional pieces also merge light and water, like “Aldwa Alsael,” which translates to “liquid light,” and was commissioned for the 2024 Noor Riyadh Light Art Festival.

a photograph of a dusky sky over water in Death Valley, with a bright linear beam of light coming straight down from the sky and intersecting with the surface of the water — “Veil I” (2024), light, water, and salt. Death Valley, California

“For the most part, these installations unfold organically,” Turczan says. “I may discover a location in nature that seems perfect for a new Veil sculpture, but when I return, the conditions have inevitably changed.” Evolving circumstances require the artist to proceed with an openness to chance encounters that strike a balance between preparation and intuition.

Find more on Turczan’s website, and follow updates on Instagram. (via This Isn’t Happiness)

a gift of light projecting onto the surface of water in the desert in blue and pink beams — “Death Valley Veil” (2024), water, light, and haze. Lake Manly, a temporary lake that formed in Death Valley’s Badwater Basin after Hurricane Hillary

a landscape at dusk with a body of water that has a geometric beam of light projected onto it in a bright purple line — “Veil II” (2024), light, water, and steam. Mojave Desert, California

a photograph of a light projection on a body of water, creating three concentric circles in orange on the surface of the water, with misty air interacting with the beams above the shape — “Aldwa Alsael” (2024), water, light, and steel tower, 25 x 25 x 50 feet

a dark body of water with a peach-colored geometric light projection in the surface of the water — “Veil V” (2024), water and light, 15 x 15 x 3 feet

a photograph of a light projection on a body of water, creating a series of three lines in green on the surface of the water, with misty air interacting with blue beams above the shape — “Aldwa Alsael”

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Watery Landscapes Set the Stage for Lachlan Turczan’s Ephemeral Light Installations appeared first on Colossal.

Lena Guberman’s Emotive Sculptures Call Upon Childhood Social Anxiety

For any of us who are shy or anxious about interacting with others in the outside world, we might think of the face we “put on” that enable us to feel less fearful. For Lena Guberman (previously), a recent series of ceramic sculptures titled INS_IDE_OUT delves into her childhood experiences with social anxiety and the uncertainties of the unknown.

“The mask provides a protective shell and presents a ‘perfect’ appearance to the outside world but fails to stop the fears and emotions from bursting out,” Guberman tells Colossal.

Each piece is modeled on the same melancholy face of a young, brown-haired girl, with painted and sculpted elements that range from spikes to arrows to a dead bird. Emotionally evocative and sometimes slightly unsettling, her sculptures explore the spectrum of feelings associated with anxiety.

Guberman is currently planning a project that expands upon her use of ceramics by adding other materials. See more work on her website, Instagram, and Behance.

a ceramic mask with the face of a young girl with brown hair, with numerous arrows sticking out of her face

a ceramic mask with the face of a young girl with brown hair, with a small figure of another girl standing on the head, wearing a red-and-white striped dress

a gif of a ceramic mask with the face of a young girl with red stars and creatures painted on it

a ceramic mask with the face of a young girl with brown hair in braids that are engulfing her face

a ceramic mask with the face of a young girl with brown hair and a very long, skinny red tongue draped from her mouth

a figure holds a small ceramic mask in front of their face, featuring a white finish and spikes protruding from its surface

a ceramic mask with the face of a young girl whose hair is raising up in a flame-like tendril

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Lena Guberman’s Emotive Sculptures Call Upon Childhood Social Anxiety appeared first on Colossal.

Joan Clare Brown Juxtaposes Anatomy and Memories in Poignant Porcelain Sculptures

Depending on how you look at them, the tendrils seemingly growing from Joan Clare Brown’s porcelain bases could be perceived as soft and delicate or spiny, defensive, and slightly unsettling. Dualities lie at the heart of the artist’s approach to ceramics, especially in her ongoing series Ed, which takes personal experience and human anatomy as starting points for a poignant study of grief.

“I started this series as a response to my father’s sudden passing,” Brown tells Colossal. “He was diagnosed with widespread pancreatic cancer and passed away the same day, ultimately of sepsis from complications of a perforated bowel.” In the Ed works, the cinched base, which mimics a frilly-edged textile cushion or pouch, represents a perforated organ, and the long, growing blades or tendrils emblematize infection.

a porcelain sculpture that resembles a bundle of white-and-brown textile with frills, with blue plant-like textured spikes or fronds emerging from it — “Ed #5” (2023), porcelain and mason stain, 6 x 4 x 5 inches

The inherent hardness and brittleness of porcelain juxtapose with the softness of textile-like surfaces and organic, plant-like fronds. Each color reflects specific childhood memories of Brown’s father, like the blue and green hues drawn from his favorite flannel shirt or light pinks and purples redolent of a tablecloth used at her family dinners.

“Through the permanence of the ceramic form, my hope was to turn something menacing and insidious into a nostalgic and meaningful reminder,” Brown says. “And by making these pieces, in a way, I feel that he is still present.”

Explore more on the artist’s website and Instagram.

a porcelain sculpture that resembles a bundle of textile with frills, with blue grass-like spikes or fronds emerging from it — “Ed #16” (2023), porcelain, mason stain, glaze, and luster, 7 x 6 x 4 inches

a detail of a porcelain sculpture that resembles a bundle of textile with frills, with blue grass-like spikes or fronds emerging from it — Detail of “Ed #13”

a porcelain sculpture that resembles a bundle of white-and-green textile with frills, with blue plant-like textured spikes or fronds emerging from it — “Ed #10” (2023), porcelain and mason stain, 7 x 5 x 5 inches

a porcelain sculpture that resembles a bundle of white-and-red textile with frills, with orange plant-like textured spikes or fronds emerging from it — “Ed #11” (2023), porcelain and mason stain, 7 x 8 x 7 inches

a detail of a porcelain sculpture that resembles a bundle of white-and-red textile with frills, with orange plant-like textured spikes or fronds emerging from it — Detail of “Ed #11”

a porcelain sculpture that resembles a bundle of white textile with frills, with dark green plant-like textured spikes or fronds emerging from it — “Ed #4” (2022), porcelain and mason stain, 7 x 4 x 4 inches

a porcelain sculpture that resembles a bundle of white textile with pink frills, with dark orange plant-like textured spikes or fronds emerging from it — “Ed #3” (2022), porcelain, mason stain, glaze, and luster, 8 x 6 x 4 inches

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Joan Clare Brown Juxtaposes Anatomy and Memories in Poignant Porcelain Sculptures appeared first on Colossal.

Standard Shower Curtain Sizes and Types

Shower curtains are frequently one of the most noticeable and useful features of the bathroom. As a result, you should carefully consider the size and type that will be most effective in your space.

When selecting a shower curtain, size and type are key factors, ensuring that your shower curtain fits and meets your needs. Standard shower curtain sizes are suitable for most tubs and shower stalls, providing adequate coverage to keep water where it belongs. The type of shower curtain also plays a role in the functionality of the bathroom. Each has different levels of durability, maintenance, and aesthetic appeal. Understanding the common dimensions and types will allow you to choose a shower curtain that best meets your needs.

Standard Shower Curtain Sizes

Standard curtain sizes differ slightly because shower sizes vary depending on if your shower is a standalone stall or a shower/tub combination. These sizes may vary, but they are all readily available sizes rather than custom sizes that require special ordering.

Bathtub/Shower Combination: 70×70 inches, 70×72 inches, 72×72 inches—These are the most widely used sizes, designed to fit a standard bathtub with a straight curtain rod.
Extra Wide Showers: 84-144 inches wide x 72 inches long—Ideal for larger tubs like clawfoot, where you need the curtain to wrap around the tub, or for bathtubs with curved rods.
Extra Long Showers: 72 inches wide x 84 or 96 inches long—Designed for showers in rooms with tall ceilings or tall shower enclosures.
Shower Stall: 54×78 inches

How to Measure for the Right Fit

To find the right shower curtain size, start by measuring the width of your shower area. Measure from wall to wall or measure the width of your shower curtain rod. Add twelve inches to this measurement to ensure that your curtain has the proper fullness when pulled from edge to edge. Opt for an extra-wide shower curtain if your rod is curved.

For the height, measure from the shower rod to the bottom edge of the tub or just above the floor, depending on the look you want. Shower curtains typically hang about an inch above the floor. You can also adjust the height of your shower rod to adjust the height of the curtain.

Types of Shower Curtains

Shower curtains are available in a wide range of materials and styles that each come with benefits and drawbacks to consider.

Materials

There are two main types of materials that are used to make shower curtains: natural and synthetic. Some people want the organic look of natural fiber, which adds a greater textural element to the bathroom. Others prefer the functionality and easy maintenance of synthetic curtains.

Cotton

Cotton is a natural fiber that is soft and breathable. It is a durable but cost-effective fabric that can add a luxe but comfortable and organic look to your bathroom. Cotton shower curtains are easy to clean because they are machine washable. They may require ironing to remove any residual wrinkles, depending on the weave. Prone to mold and mildew, cotton shower curtains will require the use of a waterproof liner.

Linen

Linen is a natural, textured fabric of medium weight that is known for its organic appearance and quick drying properties. It is both aesthetically pleasing and environmentally friendly. Linen fabric is simple to wash, but like cotton, it may need to be ironed afterward to restore its smoothness. Linen can absorb water well, but it is not waterproof. Linen shower curtains require a separate liner.

Polyester

Polyester is a synthetic fabric that is known for its durability and ease of maintenance. Polyester shower curtains are often less expensive than natural fabric options, but they do not have the same depth of texture and interest. Other benefits include a quick drying time, the ability to retain colors and patterns without fading, and mildew resistance. While polyester curtains are water resistant, they are not waterproof, so most require an additional shower liner.

Vinyl

Vinyl shower curtains are designed to be used without an additional shower liner, making them the most practical option among the available options. Vinyl is a completely waterproof and long-lasting material. Vinyl shower curtains can be ripped if they come into contact with sharp objects. Vinyl contains harmful chemicals and can have a strong odor when it is new. Curtains made from vinyl are the most economical because they do not require the purchase of a liner.

Nylon

Nylon, which is lightweight and synthetic, is another option for those looking for something lighter than vinyl but less maintenance-intensive than natural fabrics. Nylon is a water-resistant material that dries quickly. It is mildew resistant but may stain with prolonged exposure. Nylon shower curtains are machine-washable.

Blended Fabrics

Blended fabrics combine the aesthetic appeal of natural fabrics with the durability and ease of care of synthetics. Most blended fabrics for shower curtains contain either cotton or linen mixed with polyester. These curtains are partially water-resistant due to the addition of polyester, but they can be treated with a back coating to make them even more waterproof.

Design Variations

Shower curtain design options include the appearance and feel of the curtains, as well as how they fit and function in your shower.

Patterned vs Solid

When you go to buy a shower curtain, you will be confronted with a wide range of color and pattern options. Solid-colored curtains are the simplest and most understated option. These are suitable for a variety of styles, from contemporary to traditional. Lighter-colored curtains make a bathroom feel more spacious and airy, whereas darker tones add depth and sophistication.

Patterned shower curtains can introduce personality and interest and quickly dominate the small space of a bathroom. Geometric shapes, florals, stripes, and abstract prints serve as a focal point from which you can take color cues to use in other parts of the bathroom.

Textured vs Smooth

The weave of the fabric has a significant impact on the appearance and functionality of the shower curtain. Textured fabrics add depth and dimension, with options such as waffled-weave, ribbed, embroidered, and ruffles to make the curtain more decorative. Textured fabrics can also help to hide discoloration and soap residue while increasing water absorption, making them easier to maintain in the long run.

Smooth-surfaced shower curtains look minimal and sleek, giving them a modern appearance. Smooth surfaces do show more wear, but depending on the fabric, are easier to clean and iron than textured fabrics.

Weighted or Unweighted Bottom

A weighted or unweighted bottom differs in terms of functionality and appearance. A weighted bottom has small metal or plastic weights sewn into the bottom hem. This helps to keep the shower curtain in place and prevents it from billowing inwards while you shower. While weights do hold the shower curtain in place, they can also catch higher on the tub and make the shower curtain hang awkwardly.

An unweighted bottom has no additional support, so it might blow in during showers and allow water to leak through. These curtains are lighter-weight and flexible, but they may require more frequent adjustments.

Grommet, Buttonhole, or Hookless Curtains

Grommets are a popular attachment style for shower curtains. These curtains feature metal rings at the top of the curtain that you use with curtain hooks. These make the ring hole durable and strong. For a less oververt opening style, consider a buttonhole top. These curtains feature reinforced buttonholes that you can use with curtain rings.

Hookless curtains eliminate the need for curtain rings and attach using either a rod pocket sewn into the top of the curtain or large grommets that can be threaded directly onto the curtain rod.

How to Choose the Right Shower Curtain

Selecting the right shower curtain for you requires considering the following elements:

Size and Fit: Ensure that the shower curtain is long and wide enough for your shower while allowing ample space to drape gracefully.
Water Resistance and Care: Consider who is using the shower when determining your curtain fabric. For high-humidity or high-traffic, kid-friendly bathrooms, opt for water-resistant and easy-care fabrics. For adult, older children, or infrequently used bathrooms, you can opt for a curtain that is higher maintenance if desired.
Aesthetics and Style: Keep in mind that a heavily patterned or brightly colored curtain will dictate the appearance of the bathroom. If you are unsure of your desired style or want more design flexibility, go with a light-colored solid or lightly patterned curtain.
Durability: High-quality materials and reinforcing features like a grommet top will increase the longevity of your shower curtain.

The post Standard Shower Curtain Sizes and Types appeared first on Homedit.

Signe Emdal’s Chromatic Weavings Manifest Wonder and Joy

Twenty years ago, Signe Emdal founded a business that focused on making unique textile objects and garments, drawing on her background in jacquard weaving, fabric printing, and a range of other techniques. By 2021, though, she was feeling hemmed in and longed for a way to express herself through a more intuitive, less functional creative direction.

“It was time to free myself from a frame I no longer fit and make a new one,” she tells Colossal. “I had no idea what the new frame would look like, but I trusted that life would bring me something better if I said goodbye to a setup that didn’t bring me joy anymore.”

an abstract, bright weaving radiating fiber in red, white, and blue into a puffy form, with long fibers gathered and draping long at the bottom — “Maison” (2023)

A self-described “textile composer,” Emdal views the loom as a window where warp and weft interact to create storage vessels for memories. She is also deeply influenced by exploring new locations. “Art allows me to travel in a completely new way because I get to be in a creation process while spending time with or (being) in other cultures,” she says. Many works she makes on-site, influenced by her surroundings.

Process is central to Emdal’s artistic education and continues to be the primary influence in her practice. “Everything is process, and everything is changing all the time,” she says. “Nothing is ever going to be finished!” She shares that through textiles, she learned to hone her concentration on both physical and metaphysical levels, finding that the meditative methodology of weaving echoes how she views art-making and life more broadly.

Emdal’s related series Touch and Loop comprise sculptural, loom-woven wool in vibrant colors. From radiating puffs of vibrating color to elegant, draping details, her pieces are inspired by science fiction, feminism, art history, and music. “The sculptures are layers of delicate memories,” she says, embodying fragility, resilience, sophistication, and joy.

Emdal’s work will be included in the Textile Art Biennial Slovenia, which runs from May 31 to August 14 across five cities. Find more on Emdal’s website and Instagram.

an abstract, bright weaving with long fibers draping from the sides and the bottom — “Dreams of Gaia” (2024)

a detail of an abstract, bright weaving — Detail of “Dreams of Gaia”

an abstract, bright weaving radiating fiber in red, yellow, lilac, and green into a puffy form, with long teal fibers draping long at the bottom — “Heart of Nebula” (2024)

an abstract, bright weaving radiating fiber in other colors into a puffy form, with long fibers gathered and draping long at the bottom — “Fantasia” (2023)

an abstract weaving installed on the wall, primarily pink and green, with radiation tufts of fiber to make it appear very soft — “Acqua 4 ever/Evigheden” (2024)

an abstract, vibrantly colored weaving with green in the center and radiating fiber in other colors into a puffy form, with green fiber draping long at the bottom — “Spirit of Green” (2024)

a detail of an abstract, vibrantly colored weaving with green in the center and radiating fiber in other colors — Detail of “Spirit of Green”

an abstract weaving installed on the wall, primarily purple, with radiation tufts of fiber to make it appear very soft — “Murex 4ever” (2023)

an abstract, bright weaving radiating fiber in other colors into a puffy form, with orange fiber draping long at the bottom — “Silky Way” (2023)

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Signe Emdal’s Chromatic Weavings Manifest Wonder and Joy appeared first on Colossal.

Signe Emdal’s Chromatic Weavings Manifest Wonder and Joy

Emdal’s work will be included in the Textile Art Biennial Slovenia, which runs from May 31 to August 14 across five cities. Find more on Emdal’s website and Instagram.

Order and Chaos Entwine in Abstract Embroideries by Kristine Stattin

Where someone might see opposition, Kristine Stattin finds fitting companions. Working in her studio in the Occitanie region of southern France, the artist alternates between hand and machine embroidery as she layers long, sweeping lines and tiny, tufted French knots. The contrasts create tension and intrigue and ensure that Stattin doesn’t get too comfortable with any one mode.

“My work is all about the process, being in and surrendering to the moment, embracing the unknown, not being attached to outcomes and expectations, and bringing the threads to life,” she says.

a colorful abstract embroidery on blue fabric

Bursting with color and texture, Stattin’s abstract embroideries evoke movement and energy through several layers of thin, sewing thread stitched atop one another. There’s tension between orderly rows and chaotic smatterings. “Each new piece is an internal journey, a sort of enigma that asks to be solved, and I use the needle and threads to capture a feeling, movement, and life itself,” she shares.

Occasionally, appliqué, screen-printing, and acrylic-painted details appear in her pieces, and decisions to incorporate new materials are part of an instinctive process guided by the work itself. Color is similar, with combinations of pastel hues and bold, saturated palettes derived from nature, the artist’s surroundings, or even the way sewing thread falls on her table.

“I am interested in an intuitive, yet mindful process, to see where the threads will take me, to see and respond to what happens, and to work with eventual mistakes,” she says. “I embrace those mistakes as they often lead to new ideas that I bring into future work.”

Follow Stattin on Instagram for updates and glimpses into her process.

a detail of a colorful abstract embroidery on blue fabric

a colorful abstract embroidery on pink fabric

a detail of a colorful abstract embroidery on pink fabric

a colorful abstract embroidery on brown fabric

a detail of a colorful abstract embroidery on tan fabric

a colorful abstract embroidery on tan fabric

a detail image of a colorful abstract embroidery on brown fabric

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Order and Chaos Entwine in Abstract Embroideries by Kristine Stattin appeared first on Colossal.