A key distinction he points out is that crafts can be taught – passed down through generations were as art is more closely linked to the person.

Thinking about how the lack of practical skill in today’s society makes craft more impressive to the everyday viewer.

The work seems to combine traditional techniques used by Russian peasant women with that of the modernists. this allows the work to blur the lines between craft and 'fine art.'

drawing the view from a moving train. An impossible task of endless, repetitive drawing. 

the drawing seems to both highlight the landscapes ever changing shape as well as its repetitiveness. although many of the angles and shapes change what we are seeing varies only between a few key things (eg towns countryside)

“It was an incredible experience… It was deeply rewarding to discuss Bisa’s connections with family, fabric, and old photographs, and her commitment to giving visual expression to African American lives, often left out of history,” - one of the family members of

7 June 2013 – 2 August 2013

This exhibition focusses mainly on her work surrounding cracks. I really like the use of natural looking lines in this work.

No formal background in painting but still moved to western countries to pursue hr career further, how does this effect her status as a non western artist. Most of the artists she references as inspiration are also western artists, how will this have affected her art, can non western artist only fit in the western art seen if they generate art that fits into its sense/is influenced by it? Is her art just western art about non western places. 

She talks about how people say there is abaguity of who has made the paintings and the interviewer says that is good as they are universally read - does this allow them to be more accessible to westerners ?

She is always thinking about access and trying to get people of colour marginalised groups in her shows, she finds it interesting that people are always looking for big painting and they commented that she should make her small works bigger but that removes the intimacy of the paintings and can make them less accessible. 

Marianne Boesky Gallery,
New York, NY.
September 7 – October 21, 2017

Looking at his 3D work its interesting to see how he combines texture and form. the works still look very regimented like a quilt however there forms seem to juxtapose this.

environment where I was constantly in trouble for expressing interest in queer and alternative cultures and literature."

1 July — 30 September 2000

Her works are made and displayed in the same location, her work can not be moves. im interested in this idea of the work representing and belonging to a particular space, although I think it would be interesting to see this work displayed somewhere else to see how much it would change the way its viewed.

She talks about how the work is displayed, the frames the glass all becoming part of the work, I think this is most prevalent in her works about windows as it is the display that makes them recognisable as such.

She also talks about making works/installations specifically for the gallery she is in, both so that the work can address the space around it and due to the scale of many of her works being to big to make in her studio. This way of working in my mind allows the work to be born in the space it is displayed and is therefore function build in a sort of way. (Is standing in space the works function?)

looks the work collates wood from various trees to create 1 log that holds the form of a normal log but the viewer can clearly see the strands of different trees. its either an object void of history and reference or one with an abundance of such.