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艺术家简介、我从她这里学到了什么等

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记忆/聚焦/细节

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American artist Diane Meyer combines photography with embroidery emphasising the physical and tactile quality of each captured image. The use of cross stitch echoes pixelation which introduces another dimension to the compelling images, many of which were taken pre-digital photography when the subjects were less aware of how to react infront of the camera.
What is your background in textiles?
I don't actually have a background in textiles. I studied Photography at New York University, Tisch School of the Arts where I received a BFA and then went on to get an MFA from the University of California, San Diego. My mom had taught me cross-stitch when I was younger- she would sometimes let me stay up late and watch TV with her and we would often cross-stitch at that time.While I always liked the slow, meditative quality of it, itwas something that I initially kept pretty separate from my studio practice.
Where are you based and where do you work?
I grew up in New Jersey but I am currently based in Los Angeles. At the moment, I have a home studio which works well for me- although it is sometimes a challenge to keep my cat away from the string.
How do you describe your art?
For the past few years, I have been working on several series of hand-sewn photographs, Time Spent That Might Otherwise Be Forgotten and Berlin. I have also recently begun a new series based on class photographs. The series Time Spent That Might Otherwise Be Forgotten,is based on snapshots and personal photographs taken at various times throughout my life and organized by location. In this series, cross stitch embroidery has been sewn directly into family photographs. The images are broken down and reformed through the embroidery into a hand-sewn pixel structure. As areas of the image are concealed by the embroidery, small, seemingly trivial details emerge while the larger picture and context are erased. I am interested in the disjunct between actual experience and photographic representation and photography's ability to supplant memory. By borrowing the visual language of digital imaging with an analog process, a connection is made between forgetting and digital file corruption. The tactility of the pieces also references the growing trend of photos remaining primarily digital- stored on cell phones and hard drives, but rarely printed out into a tangible object. The other series that I have been working on is based of a series of photographs that I took along the entire 104 mile path of the former Berlin Wall. Sections of the photographs have been obscured by cross-stitch embroidery sewn directly into the photograph. The embroidery is made to resemble pixels and borrows the visual language of digital imaging in an analog, tactile process. In many images, the embroidered sections represent the exact scale and location of the former Wall offering a pixelated view of what lies behind. In this way, the embroidery appears as a translucent trace in the landscape of something that no longer exists but is a weight on history and memory. I am interested in the porous nature of memory as well the means by which photography transforms history into nostalgic objects that obscure objective understandings of the past. The images were taken in the city center as well as the outskirts of city where I followed the former path of the wall through suburbs and forests. I was particularly interested in photographing locations where no visible traces of the actual wall remain but where one can still see subtle clues of its previous existence. These clues include incongruities in the architecture that occurred as new structures were built on newly opened land parcels, changes in streetlights, or newer vegetation. Often the embroidered sections of the image run along the horizon line forming an unnatural separation that blocks the viewer. This aspect of the sewing emphasizes the unnatural boundaries created by the wall itself. The sewing, which is soft and domestic provides a literal contrast to the concrete of the wall and a metaphorical contrast to its symbolism. Additionally, I am currently work on I am working on a new series of 16-20 large scale hand-embroidered photographs of old elementary school class photographs from the 1970s. This project will continue my interest in the relationship between photography and memory and is an extension of an earlier project, Time Spent That Might Otherwise Be Forgotten." In the class photographs, the faces of the students, or what would normally be the main focal points of the image, are obscured with cross-stitch embroidery made to resemble the digital pixel structure of the image. By obscuring what would typically be the most important parts of the image, otherwise overlooked details are brought into focus such as body language and the embodiments of social convention. I am interested exploring these details to reveal not only the relationships between the various figures, but also how, even at a very young age, children were taught and instructed to pose in particular ways based on gender. Drawing on the ideas of Roland Barthes in his book Camera Lucida, the project will also explore the ways in which clothing items were carefully chosen by parents to convey a particular impression for peers and future generations. I am interested in this time period not only because it is my own generation, but because it is the last generation to have a childhood unclouded by digital technology. These class pictures were taken before camera phones and digital cameras and at a time when having one's class picture taken was still a serious and important occasion- something that has been lost on today's children who are accustomed to their parents photographing them with camera phones repeatedly throughout the day- and thus more susceptible to the impulses of impressions management through pose, body language, dress and other details in the image.
Your work is so unique. How long did you take to find your concept for combining photography and embroidery?
I was interested in combining a traditional, analogue process with the visual language of digital imaging. Through experimentation with the process, I realised I could match the colours in the photograph and create the effect of pixelization. A long time ago, I was working on a series of landscapes using small squares of carpet remnants which also created a pixelated effect. Although I didn't realise it at the time, I think the embroidered photographs came from my original experiments using carpet remnants. For awhile I had been working on several bodies of work of more traditional photographs that were digitally outputted as light jet prints. I became frustrated by the lack of tactility and missed the actual process of art making. I felt frustrated that, with image editing software like Photoshop, images can be completely perfected which made me want to embrace a process full of imperfections- while borrowing the visual language of pixelization and digital imaging. The embroidery also emphasises the photograph as a physical, tactile object rather than something simply viewed on a screen- the standard way that images are currently consumed. I became interested in the almost meditative quality of the process given the repetitive and time consuming nature of the process. Optically, I was also interested in the physical quality of the embroidery- that it is raised just slightly above the surface of the image and the reflective quality of the thread.
Did you ever use another stitch instead of cross stitch?
So far, I have only used cross stitch as it seems to work best to suggest pixelization.
How do you work?
I don't really make sketches of the work beforehand although sometimes I will draw on top of a copy of the photograph to get a sense of where I should place the embroidery. A lot of time it really is trial and error since it can be a bit tricky to fully visualize how it will look when completed. I have definitely started a lot of pieces that I had to abandon because I realized the embroidery wasn't quite working.
How does the needle and small stitches not rip the paper?
I'm sort of surprised that the paper has held up as well as it does. I experimented quite a bit with different paper types and surfaces and finally settled on a thick Hahnemuhle paper. I think that, especially with the really large pieces, the sewing itself keeps the paper together. Because I am changing colours constantly while working on each piece, the embroidery on the back gets very layered and intertwined. I think it ultimately helps support the structure of the piece.
What is the highlight of your career so far?
I was included in an exhibition at the George Eastman Museum, "Matter of Memory: The Photo as Object in the Digital Age" curated by Lisa Hostetler. I was so honored to have been included in this exhibition and to have my work alongside so many photographers who I have admired and been inspired by throughout my career. The museum itself has long been very special to me. For a long time,I have had a book of the museum's collection, and some of my very favorite photographs are in their permanent collection and in the history of photography, so many pivotal exhibitions have taken place there.
Do you have any advice for aspiring textile artists?
I don't have specific advice for textile artists- Im not even sure I would consider myself to be a textile artist, but the advice that I would give to any artist is to just keep making art and to do projects that are important to him or her. I think its very important for artists to not only have a strong work ethic and to be dedicated to their studio practice, but to also be able to easily bounce back fromsetbacks or rejection letters without being discouraged. I think finding and forming a local community is also very important. https://www.instagram.com/dianemeyerstudio

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American artist Diane Meyer combines embroidery with photography. Her cross stitch echos the pixilation of the image.

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二维到三维再扫二维的创造，虚幻的世界

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Myungkeun KOH: Architecture of Photography

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路易絲·布爾喬亞（Louise Bourgeois）(1911年12月25日－2010年5月31日），出生於法國巴黎，法裔美國藝術家，於1938年定居美國。布爾喬亞的作品將個人記憶為靈感, 探索個人主題，家庭，性，關係，情感和藝術力量的複合主題。 我們無法選擇家庭和生活環境，這就是為什麼有時人無法避免遭受不幸的童年之苦的原因，就像布爾喬亞在童年時期一樣。 她在年幼時無意發現父親和英語老師的戀人關係，而母親的寬容態度和壓迫使她感到困惑，也為她帶來了巨大的心理創傷。 她被這三個重要人物糾纏在一起，變得冷酷無助。 她的童年經歷，生活經歷以及父親與不安全感之間的愛恨之情將真正反映在她的作品中。 她的童年充滿了痛苦和溫暖。幸運的是，布爾喬亞的藝術創作成為了她過去創傷的治療過程。 布爾喬亞在她的早期作品中專注於與父親的關係，後來又轉到了母親。 黑暗誘人的蜘蛛雕塑最早出現在她1990年代中期的作品中。 在她一生的藝術生涯中，她創造了Spider的許多變體。 布爾喬亞不斷用不同的材料和大小重複製作蜘蛛的圖像，在不斷重複的過程中，蜘蛛與母性之間建立了聯繫，象徵著布爾喬亞的蜘蛛。

那麼蜘蛛代表什麼呢？

對於布爾喬亞，蜘蛛代表了母親的保護和庇護。 布爾喬亞在1995年的Ode à ma mere《歌頌母親》中寫道：

"我最好的朋友是我的母親，她刻意，機靈，耐心，舒緩，合理，細膩，微妙，必不可少，整潔，像蜘蛛一樣有用。"

Louise Bourgeois, Spider, 1997. CHRISTIE'S IMAGES LTD. Credit to: https://www.artnews.com/art-news/market/louise-bourgeois-spider-christies-2019-12440/

"我來自一個做掛毯修復業務的家庭。 蜘蛛是修理工。 如果你撲向蜘蛛網，她不會生氣。 她編織並修理它。"

Portrait of Louise Bourgeois with Spider IV, 1996. By Peter Bellamy. Credit to: https://www.alejandradeargos.com/index.php/en/all-articles/35-artists/41714-louise-bourgeois-biography-works-exhibitions

但是，為什麼布爾喬亞選擇蜘蛛形象代表母親，而不是看起來更柔和，更富合傳統家庭主婦形象的象徵？布爾喬亞試圖通過反复實踐蜘蛛形象來打破人們對蜘蛛的傳統偏見。通過這樣做，布爾喬亞也通過運用蜘蛛的性格（例如邪惡，導致對敵人的恐懼）打破了軟弱而溫柔的母親形象的刻板印象。換句話說，是一種高度自我保護的生物。因此，布爾喬亞在她的作品中創造了堅強的母親形象，並具有特定的防禦能力。

對於觀眾而言，他們總是必須參與布爾喬亞的作品來探索。他們經常四處走動或呆在巨大而令人恐懼的蜘蛛下；不管它們是否感到安全，這只蜘蛛都會引起焦慮，恐懼和偏離的感覺，也可以看作是強大的，威脅性的生物的化身。大多數人不喜歡蜘蛛的聰明。相反，他們將蜘蛛網視為陷阱，並且將蜘蛛的狩獵方式視為陰險的。此外，布爾喬亞的蜘蛛形象令人不悅，這與女性傳統的審美標準背道而馳。從女權主義者的角度來看，美麗的標准在很大程度上由男人主導。婦女只有適應這種審美評估標準才能在社會中生存，而男子在這方面的限制往往較少。因此，在一個以男性話語為主的社會中，蜘蛛被賦予了許多消極的含義。

Louise Bourgeois, The Destruction of the Father, 1974. Credit to:https://kivoila.com/louise-bourgeois/

作為一名女畫家，布爾喬亞試圖挑戰傳統的父權制社會，可以說蜘蛛的象徵是一個美麗的主意，也暗示著女性主義的話語。母親的概念已經重新定義。她的親密感，焦慮，孤獨，背叛，沮喪和憤怒通過她的藝術被強烈暴露。在她的其他作品中，我們經常可以感覺到更直接的憤怒和暴力情緒，例如《毀滅父親》。但是她以一種隱喻的方式使​​用蜘蛛，這種蜘蛛甚至為觀看者創造了更多的想像空間，這令人恐懼嗎？冷嗎還是具有保護性？對她而言，這是母親的溫暖和父親的寒冷的混合。蜘蛛工作中的這一矛盾得出結論，它將扮演多個角色，從而給觀眾帶來巨大的想像力。也許當我們第一次看布爾喬亞的蜘蛛時，它會讓人產生一種厭惡感，但是當我們思考一段時間後，就會發現這種厭惡是源於傳統社會的一種特殊偏見。 毫無疑問，布爾喬亞一生的藝術歷程是她通過進化表達和探索的最合適方式。在她的創作過程中，人們可以通過隱喻瞥見她的創作元素的本質和許多秘密。

路易斯 ·布爾喬亞（ Louis Bourgeois ）， 用最真誠和最深刻的自我折磨，帶給我們關於人性的感官刺激和無盡的思考空間。

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路易斯·布爾喬亞 ：最真誠和最深刻的自我折磨 - 蜘蛛

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路易絲·布爾喬亞（Louise Bourgeois）(1911年12月25日－2010年5月31日），出生於法國巴黎，法裔美國藝術家，於1938年定居美國。布爾喬亞的作品將個人記憶為靈感, 探索個人主題，家庭，性，關係，情感和藝術力量的複合主題。 我們無法選擇家庭和生活環境，這就是為什麼有時人無法避免遭受不幸的童年之苦的原因，就像布爾喬亞在童年時期一樣。...