# data[].attributes.body
Matthew Ronny is a 3D artist and a sculptor. During his artist talk he talked about his practice, and meditative art.

My notes:
How am I using my practice to learn about myself, to better myself, to learn about the world?

He works alone, no assistants. He has 2 sides: a drawer and a maker. He said that before architects were the thinker and the builder, and as time went on, they specialised in making plans, coming up with ideas, and builder had then to find out how to build their ideas. He works in similar fashion - he starts with a drawing and then he thinks how to make this sculpture.

He is fascinated by a German artist Herman Fensterland, who drew a fantasy architecture during World War II. His drawings were based on carapaces, insects, pods, and nature. They are a version of what a building could be.

Ronnay finds interesting that to conjure a creativity is through meditative processes. To him drawing has a very particular prodigal way that relates to creativity. There is no risk, you can turn the page at any second. He does automatic drawings as his first step to create a sculpture. To him a sketchbook is both a playground and a testing place.

Concept of “Work is a prayer” - he relates to it. The productivity, staying busy brings you closer to God/to yourself.

Guo Fengyi - Chinese artist (who didn’t draw until being 47 years old), practicer of Qigong - a meditative process. She uses meditative state to envision the structure of organs.

Then he gives examples of different artists that focus on meditative role in art: Minnie Evans, Louise Bourgeois, Agnes Martin, Nicholas Pope ( he got a virus in Tanzania that made him unable to work, and as a rehabilitation he used rhytmical drawing in order to get his motor skills back) -> How can I use my art to fix myself?

Bruno Ginoncoli made big minimalistic sculptures out of metal and bronze. he started with minimal way and progresses towards more and more extravagance, his sculptures get bigger and bigger until they are room-sized. He mixes banal stuff together, like grapes, croissants, flowers, in order to make a sculpture, and in final outcome it looks like a machine/vehicle/power station.

Ernst Fuchs - Jewish/Christian, during World War II. Makes artworks about Old Testament, he investigates sex, death, and religion. His art can be called loud. He makes animal texture, kind of sci-if, abstract and surreal art, kind of psychedelic and 70-s poster like art. He is based on religious mythology and he goes from purity to taintedness - to apocalypse.

# data[].attributes.body
Here you can find a short video of this company

# data[].attributes.body
In February 2023 I started working with firm called Magic Pools and Spa Poland. This firm cooperates with a firm called LK-project of which president is Leszek Kalandyk.
They are designing pools since 1994, have 150 distributors on all 4 continents, and work in 35 countries.

In the end of this catalogue you will find one of my artworks -“Marylin” from 2020 and a short artist statement that will lead potential costumers to buy artworks on my website.
It is written in polish so I will translate it here: Student of Fine Arts at De Montfort University in United Kingdom. Her works were displayed in Museum and Gallery in Leicester. She took part in various art competitions. More artworks available on website Sroga.eu

# data[].attributes.headline
Phyllida Barlow's 'untitled: upturnedhouse' sculpture - displayed at Tate Modern

# data[].attributes.subject
Phyllida Barlow's 'untitled: upturnedhouse' sculpture - displayed at Tate Modern

# data[].attributes.body
Reference:
Roux, C. (2023). Remembering the spirited artist Phyllida Barlow. [online] Harper’s BAZAAR. Available at: https://www.harpersbazaar.com/uk/culture/bazaar-art/a43308286/remembering-phyllida-barlow/ [Accessed 24 Apr. 2023].

‌

# data[].attributes.body
Phyllida Barlow is a British artist that has been creating imposing installations for nearly 60 years by drawing inspiration from her surroundings.

Barlow has exhibited her work extensively at institutions worldwide, and in 2017, she represented Britain at the Venice Biennale
She drew inspiration from her environment for over 50 years to create imposing installations that have an element of menace and playfulness. Her sculptures are tactile and appear to be precarious, resonating with emotional intensity and the urgency of their creation. These structures are often painted in vibrant colors, and their inexpensive, industrial materials, such as cardboard, fabric, plywood, polystyrene, scrim, and cement, are left visible.
Barlow's innovative shapes test the boundaries of mass, volume, and height as they obstruct, straddle, and balance precariously. The audience is encouraged to form a new connection with the sculpture, the gallery setting, and the world beyond.

She has stated, "There's something about walking around sculpture that has the possibility of being reflective, like walking through a landscape. The largeness of sculpture has that infinite possibility to make one engage beyond just the object itself and into other realms of experience." (Hauser & Wirth, n.d.)

Barlow studied at Chelsea College of Art (1960 - 1963) and the Slade School of Art (1963 - 1966), where she later taught and was a professor of fine art and director of undergraduate studies until 2009. She became a Royal Academician in 2011 and was made a CBE in the Queen's New Year Honours for her contributions to the arts in 2015. In 2017, Barlow represented Great Britain at the Venice Biennale, and in 2021, she was made a Dame Commander of the Order of the British Empire in the Queen's Birthday Honours.

In February 2019, Barlow curated a new exhibition in our Gabrielle Jungels-Winkler Galleries that she envisioned as her interpretation of a residential cul-de-sac. By closing the exit door in the final room, Barlow compelled viewers to revisit each sculpture from the other side. She constructed forests of seemingly unstable structures, utilizing the entire height of the gallery space with looming beams, blocks, and canvases

Phyllida Barlow has passed away at the age of 78, as confirmed by her gallery, Hauser & Wirth. The gallery referred to her as a source of guidance and inspiration for numerous individuals.

Reference:

Hauser & Wirth. (n.d.). Phyllida Barlow. [online] Available at: https://www.hauserwirth.com/artists/2826-phyllida-barlow/ [Accessed 24 Apr. 2023].

‌Royal Academy. (n.d.). Dame Phyllida Barlow | Artist | Royal Academy of Arts. [online] Available at: https://www.royalacademy.org.uk/art-artists/name/phyllida-barlow-ra [Accessed 24 Apr. 2023].

‌

‌

# data[].attributes.headline
Rana Begum,No. 680 Painting, 2016.Acrylic paint on MDF. H200 x W258 x D4 cm (54 Panels).

# data[].attributes.subject
Rana Begum,No. 680 Painting, 2016.Acrylic paint on MDF. H200 x W258 x D4 cm (54 Panels).

# data[].attributes.body
Reference:
Begum, R. (2016). No. 680 Painting. [Acrylic paint on MDF. H200 x W258 x D4 cm (54 Panels)] Available at: https://www.royalacademy.org.uk/art-artists/name/rana-begum-ra#cv [Accessed 24 Apr. 2023].

‌

# data[].attributes.body
London based artist (born in Bangladesh in 1977), Rana Begum's artwork focuses on the interaction between light and colour and blurs the lines between sculpture, painting, and architecture. Her inspiration stems from her childhood memories of the rhythmic repetition of daily recitals of the Qur'an and the repetitive geometric patterns found within Islamic art and the urban cityscape. Begum uses her refined language of Minimalist abstraction to create ordered forms that distill spatial and visual experiences. By blending the lines between sculpture, painting, and architecture, her work draws inspiration from geometric patterns from traditional Islamic art and architecture, as well as the urban landscape. Light plays a fundamental role in her creative process, as her pieces absorb and reflect various densities of light to create a temporal and sensorial experience for the viewer. Minimalism, constructivism, and artists such as Agnes Martin, Donald Judd, Jesús Rafael de Soto, and Tess Jaray have had an impact on Begum's artistic practice. She creates a wide range of artwork, including drawings, paintings, wall-based sculptures, and large-scale public art projects.

Begum has held several solo exhibitions, including Dappled Light at Concrete in Alserkal Avenue, Dubai, UAE (2023), Dappled Light at Pitzhanger Manor and Mead Gallery in the UK (2022 and 2021 respectively), Infinite Geometry at Wanås Konst in Sweden (2021), and A Conversation with Light and Form at Tate St Ives in Cornwall, UK (2018). Her work has also been featured in various exhibitions across the globe, including Desert X in Palm Springs, USA (2023), Dhaka Art Summit in Shilpakala Academy, Dhaka, Bangladesh (2023), Creative Folkestone Triennial in Kent, UK (2021), Gemeente Museum in Den Haag, Netherlands (2016), Kettles Yard in Cambridge, UK (2018), and The 11th Gwangju Biennale in Gwangju, Korea (2016).

Begum graduated with a BA in Fine Art from Chelsea College of Art and Design in 1999 and earned an MFA in Painting from Slade School of Fine Art in 2002. She currently resides and works in London. She has also created site-responsive installations such as Catching Colour, which was launched as part of The Line in London in 2022. At present, she is creating a site-specific project for the upcoming Arts of Islamic Cultures Gallery at the Museum of Fine Arts, Boston (MFA), scheduled to launch in 2023. Lund Humphries published a new publication about her work, Rana Begum: Space Light Colour, in 2021. She was elected as a Royal Academican in 2020.

Reference:
www.royalacademy.org.uk. (n.d.). Rana Begum | Artist | Royal Academy of Arts. [online] Available at: https://www.royalacademy.org.uk/art-artists/name/rana-begum-ra [Accessed 24 Apr. 2023].

‌Kate MacGarry. (n.d.). Rana Begum. [online] Available at: https://www.katemacgarry.com/artists/31-rana-begum/ [Accessed 24 Apr. 2023].

‌Hedges, F. (2022). Rana Begum’s vibrant, sensory art comes to Pitzhanger Manor. [online] Harper’s BAZAAR. Available at: https://www.harpersbazaar.com/uk/culture/bazaar-art/a39485117/rana-begum-pitzhanger-manor/ [Accessed 24 Apr. 2023].

‌

# data[].attributes.body
Unfortunately there is not a lot of information about her on the interenet, however her work influenced my project as well. Here you can find her instagram: https://instagram.com/rachnagarodia?igshid=YmMyMTA2M2Y=

Rachna Garodia received training at the prestigious National Institute of Design in India and The Royal School of Needlework in London. She primarily specializes in hand embroidery and weaving. Her artistic style continues to evolve, combining influences from her life in India with her experiences of living in London for over a decade. Her commissioned works are held in private collections across India, London, and the United States.

Rachna's artistry in weaving intricate textures is like gazing upon a picturesque landscape, capturing the ambiance, mood, and sentiment of her daily walks. Her creative process starts by bringing together disparate textures in a warp, where she blends cotton, linen, silk, nettle, hemp, and wool with natural materials like paper, bark, seedpods, and twigs. Garodia’s embroidery work focuses on utilizing simple stitches and hand appliqué techniques to create lifelike forms of birds and human faces.
Each of her pieces is exceptional and takes shape gradually in her West London studio, reflecting her introspective and contemplative approach. Rachna challenges the boundaries of weaving by exploring small and large 3D forms, pushing the boundaries of the medium.

Reference:
One Paved Court. (2022). Woven Walks: Rachna Garodia, 9 - 27 Nov 2022. [online] Available at: https://onepavedcourt.co.uk/portfolio-item/rachna-garodia/ [Accessed 20 Apr. 2023].

‌Garodia, R. (n.d.). Rachna Garodia. [online] www.craftscouncil.org.uk. Available at: https://www.craftscouncil.org.uk/directory/rachna-garodia [Accessed 20 Apr. 2023].

‌

# data[].attributes.headline
Being a member of exhibition team in the gallery - experience 

# data[].attributes.subject
Being a member of exhibition team in the gallery - experience 

# data[].attributes.body
Artistic and Curatorial Experience: Being a part of an exhibition team in a gallery will expose a range of artwork and provide an opportunity to work closely with curators and artists. I can learn how exhibitions are curated and how artwork is selected, displayed, and interpreted.

Organizational and Project Management Skills: As a member of an exhibition team, I will be responsible for various tasks, such as organizing artwork, setting up displays, and coordinating events. These experiences will help me develop organizational and project management skills, which are valuable skills in any career.

Communication Skills: Working on an exhibition team requires excellent communication skills, as I will need to collaborate with a variety of people, such as artists, curators, colleagues, and visitors. I will learn how to communicate effectively and professionally, both in person and in writing.

Networking Opportunities: an opportunity to network with people in the art industry. I will meet curators, artists, gallery owners, and other professionals who can offer insights, advice, and potential job opportunities.

Creative Problem Solving: Exhibitions can often present unforeseen challenges, such as artwork not arriving on time or unexpected changes to the layout. Being part of an exhibition team will help me develop creative problem-solving skills and the ability to adapt quickly to changing circumstances

# data[].attributes.headline
How a gallery internship can help me in the future?

# data[].attributes.subject
How a gallery internship can help me in the future?

# data[].attributes.body
Gain hands-on experience: An internship in a gallery can provide me a practical experience in the art world, allowing me to learn about the day-to-day operations of a gallery, how to handle art pieces, how to interact with clients, and other related skills.

Network with professionals: opportunity to meet and network with professionals in the art industry. Be able to make connections with art curators, artists, gallery owners, and other industry professionals who can provide me their guidance and career advice.

Build my resume: An internship in a gallery can add valuable experience to my resume, demonstrating my knowledge and passion for the arts. It can also show potential employers that I have practical experience in the industry.

Develop transferable skills: The skills I learn during an internship, such as communication, organization, and time management, can be applied to any career field.

Explore career options: An internship in a gallery can provide insight into different career options in the art industry, helping me to make more informed decisions about your future career path.

# data[].attributes.body
In the end of October 2022 I applied to exhibit one of my artworks in an Open 33 Exhibition in the Leicester Museum & Gallery. I applied through their website and in November I received a response that my artwork “Billboard” from 2020 has been selected. I had to deliver it between 03-05 December. The exhibition started on the 10th of December 2022 and lasted until 20th January 2023. However, before opening an exhibition to a public eye, all artists that participated in this project, received a private invitation with which we could enter the gallery before opening, and see how it looks like (see a video above).
I could collect my artwork on the 22-23rd of January 2023.

# data[].attributes.headline
Open 33 Exhibition - Leicester Art & Museum

# data[].attributes.subject
Open 33 Exhibition - Leicester Art & Museum

# data[].attributes.body
This was my artwork that I exhibited in Leicester Art & Museum.

# data[].attributes.body
The emergence of the Feminist Art movement in the Western world occurred during the late 1960s amidst the excitement of American anti-war protests and the growing global movements for gender, civil, and queer rights. Drawing inspiration from the idealistic goals of early 20th-century modernist movements, Feminist artists aimed to challenge the existing male-dominated art history, transform their contemporary world through their artistic expressions, intervene in the established art world, and question the prevailing art canon. The movement created new opportunities and spaces for women and minority artists and paved the way for later Identity and Activist Art genres in the 1980s.

In 1971, Linda Nochlin, an art historian, published a groundbreaking essay entitled "Why Have There Been No Great Women Artists?" She looked into why talented women face social and economic challenges that make it harder for them to achieve the same status as men.

By the 1980s, art historians such as Griselda Pollock and Rozsika Parker delved deeper, scrutinizing the language of art history and its gender-laden terms like "old master" and "masterpiece." They raised doubts about why the female nude was a prominent feature in Western art, and why men and women were depicted so disparately. In his book "Ways of Seeing" (1972), Marxist critic John Berger argued that "Men gaze at women. Women watch themselves being gazed at," indicating that Western art reproduces the unequal power structures that already exist in society.

Prior to the feminist movement, the majority of female artists were largely unseen by the public eye. Due solely to their gender, they were frequently denied exhibition opportunities and gallery representation. The art world was often depicted, or promoted, as a male-dominated "boys' club," with groups like the hard-drinking, womanizing members of Abstract Expressionism being romanticized. To counteract this, Feminist artists established alternative venues and pushed for changes in institutional policies to increase the visibility of women artists in the market.

Feminist artists frequently utilized alternative materials associated with femininity, such as textiles, as well as media previously underrepresented by men, such as performance and video, which lacked the male-dominated historical precedent carried by painting and sculpture. Women used these innovative approaches to expand the definition of fine art and include a wider variety of artistic viewpoints.

Feminist Art does not limit itself to any particular geographic location, but instead unites women's voices from around the world. Over the course of the movement's decades-long existence, significant Feminist artists have emerged from various countries, such as the United States, Great Britain, Latin America, Eastern Europe, and the Middle East, among others, as women continue to advocate for equal rights and representation in their unique cultural contexts.

Most impactful and worldwide known female artists of the early 1900 are German Dadaist Hannah Höch and Mexican Surrealist Frida Kahlo.

Reference:
Tate (n.d.). Feminist art – Art Term | Tate. [online] Tate. Available at: https://www.tate.org.uk/art/art-terms/f/feminist-art.

The Art Story (2017). Feminist Art Movement Overview. [online] The Art Story. Available at: https://www.theartstory.org/movement/feminist-art/ [Accessed 18 Apr. 2023].

# data[].attributes.headline
Gunta Stölzl, Slit Tapestry Red/Green, 1927/28Cotton, silk, linen 150 x 110cm

# data[].attributes.subject
Gunta Stölzl, Slit Tapestry Red/Green, 1927/28Cotton, silk, linen 150 x 110cm

# data[].attributes.body
Gunta Stölzl (1897- 1983) was a renowned German textile artist, played a crucial role in transforming the weaving workshop at the Bauhaus school from producing individual pictorial works to modern industrial designs. As one of the few female teachers at the Bauhaus, she became the first woman to hold the title of "Master." Her work in textiles is seen as a prime example of the distinctive style of Bauhaus textiles. Stölzl enrolled at Bauhaus as a student in 1919 and later became a junior master in 1927. Despite being dismissed in 1931 due to political reasons, she left a huge impact on the textile department of Bauhaus. The sector was neglected and its active masters lacked technical knowledge of textile production. However, Stölzl changed this by becoming a mentor to other students and reopening the Bauhaus dye studios in 1921. In 1925, she assumed the position of the director of weaving and subsequently expanded the department by enhancing its weaving and dyeing capabilities. Stölzl brought modern art ideas to weaving, experimented with synthetic materials, and improved the department's technical instruction to include courses in mathematics. The Bauhaus weaving workshop became one of its most successful facilities under her direction.

Later in life, Stölzl devoted herself to tapestry and weaving her own designs. She continued this practice until her death at the age of 86. Unfortunately, her husband did not allow the opening of her documents after her death, feeling intimidated and frightened from reading Alma Mahler's diaries. It was only after his death that Stölzl's daughters, Yael and Monika, reviewed her documents and established the G.S. Foundation. Stölzl's correspondence and innovative body of work provide a rich insight into her life. Her work is now part of numerous museum collections in Europe, the USA, and Japan.

Looking back to her Bauhaus days in 1968, Stölzl wrote, "Even today, I believe that most important of all was life itself." Her audacious threading movements and dedication to textile art have made a lasting impact on the field.

In her art she was inspired by  painters Wassily Kandinsky, Paul Klee, Johannes Itten, Josef Albers, Lyonel Feininger and others. She also found an inspiration in the art of Paul Klee, particularly his use of color and form, as well as in the ideas about abstraction espoused by Kandinsky in his book "Concerning the Spiritual in Art." Kandinsky believed that the more abstract a form is, the more directly it communicates with the viewer. Stölzl applied these principles to her work in the Weaving Workshop at the Bauhaus, shifting the focus from personal, pictorial, and decorative tapestry weaving to the creation of innovative, abstract, and geometric textiles suitable for both domestic and industrial use. This approach was consistent with the Bauhaus philosophy of valuing utility and simplicity over textiles as a form of personal expression or art. Stölzl channeled her creative energies into experimenting with new weave structures, synthetic fibers, and dyeing techniques.

Reference:
admin (2013). History of textile art: Gunta Stölzl (1897-1983). [online] TextileArtist.org. Available at: https://www.textileartist.org/textile-artist-gunta-stolzl-1897-1983/ [Accessed 19 Apr. 2023].

‌The Museum of Modern Art. (n.d.). Gunta Stölzl | MoMA. [online] Available at: https://www.moma.org/artists/5675 [Accessed 26 Apr. 2023].

‌

# data[].attributes.body
Weaving is one of the oldest crafts in human history, with evidence of woven textiles dating back to at least 5000 BCE in ancient Egypt. However, the basic principle of weaving was applied to interlace branches and twigs to create fences, shelters, baskets, fabric for clothing, and other functional purposes. In ancient cultures, weaving was often a female-dominated craft and was passed down through generations.

Over time, weaving techniques and styles evolved, as various cultures developed their unique weaving traditions. For example, in the Andes, the ancient Inca civilization developed complex weaving techniques using backstrap looms to create intricate textiles that were used for clothing, ceremonial purposes, and storytelling. In West Africa, the Yoruba people developed a complex system of weaving using narrow strips of cloth to create intricate patterns.

In Europe, the handmade loom as we recognize it today emerged during the 13th century. This version of the loom was equipped with devices known as heddles, which were operated by pedals or levers to lift and lower the warp threads, making it easier to pass the weft and leading to the creation of more complex designs and colors. The number of heddles used could vary, and they ultimately replaced the rods found on earlier looms. For many centuries, the arrangement of weaving tools remained unchanged, with horizontal looms equipped with multiple heddles used for producing fabrics, while vertical looms were favored for tapestries and carpets.

During the latter half of the 18th century, E. Cartwright revolutionized the industry by patenting the first mechanically-driven loom powered by a steam engine, which served as the foundation for industrial production. However, despite this breakthrough, the production of textured fabrics that required complex weaving techniques with both the warp and weft remained an arduous task.

In 1804, the French entrepreneur J.M. Jacquard developed a weaving machine that could be attached to a loom, enabling the automatic movement of individual warp threads via a perforated card. The Jacquard loom is widely regarded as one of the most significant textile inventions in history, facilitating the production of intricate fabrics while reducing the need for manual labor, as it replaced the drawlooms or heddles that had previously required a helper to manually move them. Despite its innovative design, the new loom was initially met with resistance from weavers, who feared job loss. In fact, the City Council of Lyon even ordered its destruction. However, by 1812, there were already 11,000 Jacquard looms in operation in France, and within ten years, they had become widely used around the world, including in England, Italy, Germany, America, and even China

In the modern era, weaving has evolved into a fine art form, with contemporary artists using weaving techniques to create wall hangings, tapestries, fibre art, and other works of art. Today, weaving remains an essential craft and art form, with many people continuing to practice and explore its rich history and potential for creativity.

Weaving is a basic technique for creating textiles that entails interlacing a set of vertical threads, referred to as the warp, with a set of horizontal threads, known as the weft. The warp threads are stretched in tension on a frame or loom, while the weft threads are woven over and under the warp, moving horizontally or laterally.

Weaving can be achieved manually or with machines, the latter of which are known as looms.
The loom has undergone significant development since its primitive origins as a wooden frame, now encompassing sophisticated electronic machines. While weaving has largely become a mechanized process, there still exists a tradition of hand-weaving in practice today.

Reference:
Weaving history (2019) weavedesign. Available at: https://www.weavedesign.eu/weaving-history/ (Accessed: April 16, 2023).

Carta, C. (2020) Brief history of weaving, ArteMorbida. Available at: https://www.artemorbida.com/brief-history-of-weaving/?lang=en (Accessed: April 16, 2023).

# data[].attributes.attachment_caption
“In Poetry and Silence: The Work and Studio of Lenore Tawney” installation view at the John Michael Kohler Arts Center, 2019/Photo: John Michael Kohler Arts Center

# data[].attributes.body
Reference:
Tawney, L. (2020) “In Poetry and Silence: The Work and Studio of Lenore Tawney,” New city art. Available at: Art.newcity.com (Accessed: April 13, 2023).

# data[].attributes.headline
Lenore Tawney, Waters Above the Firmament

# data[].attributes.subject
Lenore Tawney, Waters Above the Firmament

# data[].attributes.body
It was created in 1976 and currently held in the Art Institute of Chicago's collection. It's a large circular weaving made of linen and includes 18th/19th century manuscript pages cut into strips and painted with acrylic. The top and bottom of the piece feature braided, knotted, and cut warp fringe. The upper half of the circle is made of paper and fabric coated in blue paint, giving it remarkable weight. Tawney created slits in the circle to emphasize a third dimension.

Reference:
Tawney, L. (n.d.) Waters Above the Firmament, Collage of art. Available at: Artofcollage.wordpress.com (Accessed: April 13, 2023).

# data[].attributes.body
Lenore Tawney was an American artist known for her innovative and experimental approach to weaving. In her art career she experimented with sculptures, collages, and drawings. In her weaving she pushed traditional boundaries to create new innovative artworks.

Tawney studied sculpture and weaving at the Art Institute as well as Chicago’s Institute of Design sculpture (Bauhaus school of art in Germany). She bought her first loom when she at age 41 and devoted herself wholly to weaving being 47 years old.
In the late 1950s, Tawney pursued a deeply personal and experimental artistic approach, resulting in the creation of ethereal tapestries. Her pieces incorporated plain woven areas, layered designs, and large, transparent sections of loose, nonfunctional weaving. Through her improvisational process, she produced tapestries that resembled free-flowing drawings, composed of vibrant threads that seemed to float in space.
In 1961 she lived in Manhattan and became a member of avant-grade artists and started creating sculptural woven forms. Her works were always freely suspended in space, often decorated with unconventional materials such as horsehair, feathers, shells, beadsand even found objects like twigs and leaves in her weavings.

In her art she wanted to express the idea of the frailty and transiency of life, and the need to find inner peace. She found weaving as a a form of meditation and spiritual practice, and her works often have a contemplative, meditative quality.

Lenore Tawney has been drawn to mystical religious philosophies from both Eastern and Western traditions for a long time, and she infuses all of her work with a strong spiritual essence. Her weavings and other artistic expressions seek to foster a sense of unity and introspection. Her travels around the world have exposed her to numerous ancient cultures and religious practices, particularly those of India. Nonetheless, she embraces the Zen notion that everything is interconnected and part of a whole. Her art can be viewed as a continuous spiritual journey to convey that elusive truth. Her works often have a contemplative, almost mystical quality. She was also interested in exploring the connections between art and life, and many of her weavings were inspired by natural forms and the rhythms of the natural world.

Today, Tawney's works can be found in the collections of many major museums, including the Metropolitan Museum of Art in New York, the Smithsonian American Art Museum in Washington, D.C., and the Art Institute of Chicago.

Tawney often used a tapestry or floor loom to create her weavings, but she was also known to work with other tools and techniques. For example, she sometimes used a needle and thread to create intricate, lace-like weaves that allowed light to filter through the fibers (which was her signature technique she called "warp and weft floats").

Reference:
Tawney, L. (n.d.) Lenore Tawney, 1959, Karsh. Available at: Karsh.org (Accessed: April 13, 2023).

Lenore Tawney (n.d.) Smithsonian American Art Museum. Available at: https://americanart.si.edu/artist/lenore-tawney-6157 (Accessed: April 16, 2023).

Lenore Tawney (n.d.) The Art Institute of Chicago. Available at: https://www.artic.edu/artists/36890/lenore-tawney (Accessed: April 16, 2023).

# data[].attributes.headline
Sheila Hicks: ’Off Grid’ The Hepworth Wakefield, until 25 September 2022 Installation. Courtesy The Hepworth Wakefield

# data[].attributes.subject
Sheila Hicks: ’Off Grid’ The Hepworth Wakefield, until 25 September 2022 Installation. Courtesy The Hepworth Wakefield

# data[].attributes.body
Reference:
Hicks, S. (n.d.) Sheila Hicks. Available at: Sheilahicks.com (Accessed: April 13, 2023).

# data[].attributes.body
Reference:
Hicks, S. (2017) Grand Boules (2009), Apollo Magazine. Available at: Apollo-magazine.com (Accessed: April 13, 2023).

# data[].attributes.attachment_caption
Sheila Hicks at The Hepworth Wakefield, 5 April 2022.(Image credit: Joanne Crawford)

# data[].attributes.body
Sheila Hicks is an American artist (born in 1934) who is primarily known for her work in textiles and fiber arts.
Hicks is can be called as an avant-garde, experimental 20th century textile artist that turned weaving into a sculptural act.  Her art is a sensual visual experience.
She is especially known for her large-scale textile installations and sculptures that often incorporate bold colors, unusual materials, and intricate patterns. Hicks has been working in the field of fiber arts for over 60 years, and her work has been exhibited in museums and galleries around the world. In addition to her art practice, Hicks has also taught and lectured extensively on the subject of textile arts and is considered a leading figure in the field

She learned how to sew from her grandmother. Later in life she was studying painting at Yale University. George Kubler (an art historian) influenced Hicks with his fascination to weaving and encouraged her to travel abroad (Colombia, Chile, Peru, Morocco, and India) to study weaving. This experience made her own specific style of weaving.

Hicks creates large-scale installations, sculptures, tapestries, and other works that are made from a variety of fibers such as wool, linen, cotton, and silk. She uses traditional weaving and knotting techniques, as well as experimental methods, to create her works.

Hicks' work often blurs the line between art and craft, and she has been a pioneer in elevating fiber arts to a more prominent position in the art world. Her works have been exhibited in museums and galleries around the world, including the Whitney Museum of American Art, the Centre Pompidou in Paris, and the Museo Nacional Centro de Arte Reina Sofía in Madrid.

Sheila Hicks uses a variety of techniques in her weaving practice; traditional weaving techniques such as plain weave, twill, and tapestry weaving, as well as more experimental techniques such as wrapping, coiling, and knotting.

For example, in her large-scale installations, Hicks often uses a scaffold or other support structure to create a three-dimensional framework for her weaving. She then weaves individual fibers around and through this structure, creating a complex, multi-layered work that can take months or even years to complete.

In her smaller tapestries and wall hangings, Hicks uses traditional weaving techniques; like a handloom to create her designs. She said: “I like to work on a small scale – that of my miniatures, which require neither cumbersome tools nor costly immobilization.  They allow me to elaborate a mode of writing which is at once personal and legible.”

Reference:
Hicks, S. (2022) Sheila Hicks at The Hepworth Wakefield, 5 April 2022, Wallpaper. Jessica Klingelfuss. Available at: Wallpaper.com (Accessed: April 13, 2023).

Probst, K. (2021) Sheila Hicks, The Women's Studio. Available at: https://thewomensstudio.net/2021/06/06/sheila-hicks/ (Accessed: April 14, 2023).

Gardner, A. (n.d.) Sheila Hicks: Moma, The Museum of Modern Art. Available at: https://www.moma.org/artists/2631 (Accessed: April 14, 2023).

# data[].attributes.headline
And finally done! This whole project took me 2 months to finish. It was an amazing journey that helped me to calm down and let me dive in to my feelings and thoughts due to repetitive movement and patterns I was creating. Here you can see me being satisfied with untangling it :)

# data[].attributes.subject
And finally done! This whole project took me 2 months to finish. It was an amazing journey that helped me to calm down and let me dive in to my feelings and thoughts due to repetitive movement and patterns I was creating. Here you can see me being satisfied with untangling it :)

# data[].attributes.headline
Had a lot of problems with setting it up, I am glad I had technician’s support there <3

# data[].attributes.subject
Had a lot of problems with setting it up, I am glad I had technician’s support there <3

# data[].attributes.headline
I needed to brush the yarn so it is even and doesn’t get tangled later on

# data[].attributes.subject
I needed to brush the yarn so it is even and doesn’t get tangled later on

# data[].attributes.body
My next induction was at weaving workshop and after one session I knew I am gonna stick to this one

# data[].attributes.body
Here is a video of my induction to knitting machine :)

# data[].attributes.body
I also decided to explore different workshops in Vijay Patel, such as knitting workshop where you use only machines to create fabrics.

This was tough and a lot more challenging. It definitely takes a lot of time to learn simple stitches and rows. I knew I don’t have much time for that so I decided to leave this one for another time, maybe next year?

# data[].attributes.body
Had a little companion :)

# data[].attributes.body
It went quite well!!!

# data[].attributes.body
I was lost in the beginning of term two and didn’t know what exactly I want to create. I only knew that I want to explore different materials and fabrics.

My journey started with knitting. This activity was a bit challenging, as it was totally new to me. I always wanted to try it and I felt that this is the right time.
I started with the easiest stitch for beginners - garter stitch.

# data[].attributes.body
These are our notes on what we have to do in this exhibition

# data[].attributes.body
In March we started to organise an exhibition about Alan Caine who was a founder of the Arts Centre and died earlier this year. This dispay is in memory of his. He did a lot of impressionist landscape paintings so we came up with idea of a collaborative art piece that all the visitors can add to with their version of landscape. This activity has to be fully acessible to everyone, so we discussed a Padlet idea for people who can’t come in person to the gallery to share their memories of Alan, and what the Attenborough Arts Centre means to them.

# data[].attributes.body
I have a Student Art Pass that is an membership that discounts entries for galleries, gives you job opportunities or just shows you different exhibitions around UK that you can come visit. This is how I found this opportunity to work in Attenborough Arts Centre.

I had to fill in their brochure why I want to work for them, I had to tell them about myself (my background, hobbies, art interests etc.).

I was waiting a couple of weeks for their response and then I was chosen to have an interview.

The interview went quite well, it happened on Teams. I was stressed, but excited at the same time. They were asking me about myself, why I applied to work there, what would I like to learn from them, what are my expectations, what I think gallery like them works like, how to work in a group and how to communicate with each other, what is my experience in the art field.

I explained them that I am currently a Fine Art student at De Montfort University and I am from Poland. I said that when I applied to study here in UK I was also still in polish high school and I was linking both schools together. I told them that I am working in the bar on the weekends and I am managing studies with work well. The reason I applied to them was because I saw this opportunity on the website and I felt that this could help me in my art future, as I see myself working in the gallery. I would like to get to know how galleries/museums/art centers are working, how are they reaching their audience, what happens behind the scenes of exhibitions, how to exhibit and collaborate with artists.

After this interview I received an email that they chose me as a part of an Engagement Team. Other teams are: Exhibition and Documentation. We are a gorup of 10 people chosen out of other 80 people that applied to work for them.

There were two meetings after. One was a full day meeting, and the second one half a day. Their purpose was to meet us, show us their gallery and campus (Attenborough Art Centre is a part of University of Leicester), introduce us to their past projects, collaborations, works. They also made presentations of how differently galleries can exhibit artists. Here are my notes:

# data[].attributes.body
Currently I am wokring on a Market Research about galleries and art centres connected to univesities in UK. I have to compare and analyse them on these fronts:

-Website: what are they showing, who are their audiences, how are they presenting their information, how much information do they display, are they showcasing audiences, how are they speaking to them

-Social media presence: what content are they producing, are there patterns forming with what they produce, what is the most popular content, are they directly calling on their audiences or is the information more general, where is the engagement coming from?

-Physical marketing: do they hand out flyers/ brochures, do they have billboards, how do they design their physical outputs?

-Audience engagement: who are they trying to reach, how are they trying to achieve this, what is the core of the audience?

-University involvement: do they work strategically with the university or are they their own entity, do they get funding from them, how much does the university support their goals and marketing?