Weaving Yesterday, Today and Tomorrow
Five artists-in-residence create personal responses to the work of Laurie Herrick, on view at Museum of Contemporary Craft.
Throughout the Laurie Herrick: Weaving Yesterday, Today and Tomorrow exhibition at Museum of Contemporary Craft, five contemporary artists will participate in Museum residencies, creating personal responses to Herrick’s patterns and adding to this traveling exhibition. Using this blog as a portal, the artists respond to their time within the Museum, making work and engaging with visitors to the exhibition.
Read the Weaving Yesterday, Today and Tomorrow blog.
About the Residents
April 5–16, 2011
Combining weaving with a trompe l’oeil painting technique from the WPA era, local weaver Pam Patrie will work collaboratively with Portland Handweavers Guild members to create a piece based on Laurie Herrick’s shawl designs from the 1970s. Patrie’s project offers a contemporary connection to historic weaving and art forms, while bringing to light Herrick’s deep connections to local and national weaving guilds.
May 3, 2011 – May 14, 2011
Using naturally-dyed fibers created from locally harvested plants, Canadian artist Mackenzie Frère will weave a Summer and Winter Polychrome textile using Herrick’s Tree of Life (1969) as inspiration. Frere’s project calls attention to the natural fibers and palette Herrick preferred for her own weavings, bringing out contemporary questions about sustainability, economy of resources and connections between hand-making and the natural environment.
May 24–June 4, 2011
Known for combining sound technology and weaving, Christy Matson will use Herrick “Op” Art weavings from the 1960s –1990s as a springboard for her hand-woven length of cloth. By responding to Herrick’s patterns and structure through visual and aural responses, Matson shows connections between performance and handwork, abstraction and concrete form, and how the structures of weaving are being used in new ways by a younger generation of weavers.
June 21–July 2, 2011
Textile designer Elizabeth Whelan creates a handwoven prototype, demonstrating the process of moving from hand to industry in product-specific design today. Using Herrick’s shawls as inspiration, Whelan’s project brings Herrick’s early years of weaving textiles for the interior design industry into the exhibition and initiates conversation about weaving and design today.
July 5–16, 2011
Deborah Valoma choreographs and documents a dance performance based on the structure and movements of Herrick’s weaving drafts. Herrick, whose “Weaving in Motion” lecture slides are available on the Museum’s website, believed that the execution of a weaving could be less of a challenge if weavers understood the fluidity of the physical steps involved in winding, warping and weaving on a loom. Valoma’s project calls attention to the physical movements involved in weaving, and how weaving is a spatial practice.