HERITAGE | CONTEMPORARY CONTEXT | REVELATION
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In Japan, historically, there was no need for a distinction between art and craft. The great creative figures in Japan worked in all media without needing to create hierarchies between, for example, working with lacquer or textile and painting. Traditionally the training has not been in schools but as apprentices in workshops over many years. The technical skills and aesthetic judgement acquired through this process resulting in work of simple perfection and harmony. In the West we tend to think of Japan as an homogenous whole but in fact there are marked regional differences throughout the islands. The region of Kyoto is renowned as a craft area with woven textiles and dyeing particular specialities. For example
- Shibori - a form of tie dye resulting in highly intricate patterns
- Nishijin fabrics - include tapestry and brocaded silk cloths used for kimono and obi
TEXTILE ART - CONTEMPORARY CONTEXT
The Lausanne Tapestry Biennale was the foremost showcase in the West for contemporary textile art. Throughout the 70', 80's and up until the last Biennale, Japanese textile artists were a major presence.
The increasing use of textiles in contemporary art over the last 10 years has been accompanied by public interest and involvement. This is a hard won position for artists working with textiles in this country, unlike Japan where the artists have a secure role in the creative hierarchy. Against this background the confident, authoritative Japanese work will do much to carry forward the debate in the U.K.
Those with a craft training in Japan, particularly those working with textiles, are creating work which is expanding definitions and crossing traditional boundaries. The artists in Textural Space are mostly based, or have trained, in Kyoto, a region steeped in the traditional crafts, particularly textiles and dyeing. Their innovative approach is based upon rigorous craft training, knowledge of materials and technical skill. The scale of the work is monumental in intention, forming a dialogue with its surrounding space, creating harmony through texture and light.
Revelation was a major touring exhibition of textile art which addressed issues of current social, political and personal concern centring on four themes: identity, the body, gender and the environment.
Textiles both conceal and reveal - reshaping identity, becoming a second skin, decorating, protecting and unfolding elements of argument and narrative. 'Revelation' included some superb examples of craft skill and decorative or textural surfaces; however, it was the concept and content of the work which guided Lesley Millar, the curator of the show - herself a tapestry weaver - in the selection of the artists. These 15 artists were from very different backgrounds with ages ranging from mid-20's to mid-70's. Some trained as printmakers or sculptors, others as textile artists. Each brought their own experiences to cloth - a medium which has been undervalued in many areas of contemporary artistic practice, but is currently being explored for its potential to express ideas.
The artists taking part were: Emily Bates, Nisha Chadha, Jenny Ford, Frances Geesin, Harumi Isobe, Philippa Lawrence, Marcel Marois, Tass Mavrogordato, Lesley Mitchison, Liz Nilsson, Clyde Olliver, Helen Osorio, Dinah Prentice, Shirley Samberg, Michele Walker.
Textural Space is the second stage of an initiative begun when REVELATION visited Japan in 1998.
When REVELATION, the British textile art show was shown in this country it attracted over 60,000 visitors. During its subsequent three week showing at the Museum of Modern Art, Kyoto, it was seen by over 15,000 people.
References include
Revelation
catalogue 1998 National Museum of Modern Art Kyoto
(ISBN 4 87642 157 9)
Revelation postcard catalogue available from Maidstone Library Gallery
- Artist Newsletter 11/96 - pp14-16 Brink 'Textile Texts'
- Crafts Issue 144 - pp21-25 Johnson 'Time for Textiles'
- Times Educational Supplement 21/3/97 - p21 Norrie 'Life's Rich Tapestry'
- Independent 8/3/97 Windsor 'Exhibition review'
- Make No77 - pp24-25 Anson 'It's categorically not in'
- Independent Saturday Magazine 6/12/97 - p78 Millar 'Out-takes'
- Textil
Forum 1/98 - p2 Brink 'Political Material -Touchstones of Textiles'
p17 Brink 'Exhibition review' - High Fashion 4/98 - pp208-209 Massaoka 'Exhibition Review
