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Hawthorne & Heaney Visits The House of Bandits Exhibition

October 30, 2020 by Intern

On the 16th of October I got the opportunity to visit the House of Bandits exhibition, which is based at Rembrandt House in London, just down the road from Savile Row. This exhibition is part of the Sarabande foundation created by the late Alexander McQueen to support the new and upcoming visionary talent of today. Offering both studio space and scholarships the foundation has helped many inspiring artists to date.

One of the artists in particular who I went to go see was Esna Su. She creates handcrafted pieces which explore ‘the subtle issues of identity and memory and how these are shaken in the context of political instability’. Within her work she uses the traditional Turkish techniques of weaving, twinning and crochet. As a fellow weaver myself I can understand the complexity and detail that goes into her woven pieces.

Below you can see the process that Esna Su goes through to create some of her final creations. When it comes to knitting, Su uses strips of vegetable leather and knits them together. She lets the designs take shape in their own way as once the leather is dry the organic shapes are exposed. In her own words ‘’through irregular and hollow shapes, she exposes the burden of displacement but also sketches an aspiration towards protection and preservation’’.

“It’s a big part of my life being at Sarabande and I’ll always remember my time with a big smile. I would never have been brave enough to do this without the support of Sarabande.”

Along with Esna Su’s work was another Turkish artist called Berke Yazicioglu who showcased his woven wall hanging which had a particular inspirational point of view. The following designs shown below are woven representations of Igor Stravinsky Rite of Spring. Listening to this piece he used the sound colour theory by different sounds, notes and instruments meaning different textile aspects. For example, the beat inspired the framework, the instruments represent a specific colour and the notes equal to a certain colour tone.

This exhibition is free. And for specific artists you can buy tickets. This is a great exhibition to help support fellow designs and is one to check out.

Words and Images by Isabelle Humm

Hawthorne & Heaney visits Kimono: Kyoto to Catwalk

March 24, 2020 by Natasha Searls-Punter

As a member of the V&A, I try to visit most of the temporary exhibitions they put on in the fine institution that is the Victoria and Albert Museum. At the start of March, they opened their doors on their newest addition ‘Kimono:Kyoto to Catwalk‘.

Held in North Court of the building, this exhibition brings a little Asian influence to their corner of the world. The Kimono is a fascinating piece of social history, carrying so much culture and responsibility within its relatively simple folds.

Kosode: From Edo period demonstrating Yuzen dyeing (Cloth tube fitted with a metal tip used to apply a thin ribbon of rice paste, then dyes are brushed within the paste boundaries) 1730-70

I won’t go into all the history as you should be able to make your own discovery of the exhibition and enjoy it fresh yourself, but I will show you a few of my highlights which may stir your interest. For an embroiderer or anyone interested in textiles, the exhibition is full of wonderful examples of hand embroidery and lesser known textile techniques. They draw a lot of attention to them, which was something I had not necessarily expected of the exhibition but was delighted to realise. As the basic form of a kimono is very clean and unfussy, once the structure of the garment has been addressed and the pattern explained there is not very much more to say about the shape. It is the varying and evolving elements of the details displayed on them which holds all the intrigue. Even though this is a fashion exhibition it is the textiles that does the lion’s share of the talking.

Design for a Kimono 1800-50

The historical examples at the start of the exhibition were very strong, the pattern books were a surprise but of course it makes great sense to sell such a garment in this way, with patterns being chosen and customised from a book rather than remade examples. The women of the elite military class could have designs made specifically for them, particularly for special occasions.

Detail from Kimono of a Geisha- a very elaborate example demonstrating the parallels between fashion and the theatre in 18th Century Japan

On the embroidery front, there are many great examples of goldwork and silk floss/ silk shading styles throughout the exhibition. The lion above is quite an extravagant example, taken from the back of the kimono shown in the first image of this blog. Amazingly, the lion is only a very small part of the work on that kimono probably only measuring about 20-25cm high and isn’t even the main centre back motif. However I’m sure you will agree it is an exquisite use of Japanese thread (cotton core wrapped with gold leaf paper).

There are also a few pieces that feature a dying technique called Shibori which you may have heard of. It’s use is using much larger scale and bolder than the examples on the kimonos where it is used to create very small and delicate designs, creating a much more subtle and quietly expensive impression. The technique is quite labour intensive as it require parts of the fabric to be tied off very tightly before dying so they are left in negative as can be seen in the white squares pattern.

Uchikate- Outer Kimono for a young woman featuring Shibori and embroidery 1800-50

When Japan opened up its began trading with western countries such as Holland and Portugal, we can start to see the cultures influences each other, as Japanese kimono makers start to make kimonos from cottons South-east Asia and foreigners eager for everything Japanese started to use Japanese fabrics for their own pieces.

Day Dress: Misses Turner 1876-8

Japanese influenced robe, Victorian Era

Towards the end of the exhibition they turn the attention to more modern applications and influences of the Kimono. This includes pieces from modern fashion houses such as Dior, Commes De Garçons and Alexander Mcqueen. This room brings the exhibition full circle, they also demonstrate the cyclical nature of fashion as you can pick out the elements of kimonos that have influenced that ‘new’ piece.

‘High Voltage Power-Lines’ Yamawaki Toshiko 1956

Evening Dress: also by Yamawaki Toshiko (1956) featuring Obi like bow and scrolling asymmetric designTextile details, couched goldwork and red embroidery imitating kanoko shibori

While this last room holds many beautiful pieces, the real gems of this exhibition are the historical pieces. Many people will be familiar with what a Kimono is on sight from walking through the Asia exhibits, but this exhibition delves so far into this garment and unpicks the elements of it. The V & A puts on lots of great fashion exhibitions and in London we are spoilt that we have fashion specific exhibitions at all. But as this one puts so much detail into the textiles and processes, it has something special to offer in my opinion.

Hawthorne & Heaney visits Bridget Riley at the Hayward

November 20, 2019 by Natasha Searls-Punter

On Thursday we were lucky enough to visit the eagerly anticipated exhibition of Bridget Riley’s most comprehensive body of work (spanning an incredible 70 years), on display at the Haywood Gallery.

It was quite a unique experience in the way that the concept behind the paintings made you really think about the theory behind colour, art is about looking; and this exhibition really brings that to your attention. It was also unique in the physical way that the paintings made your eyes and brain hurt – (but in a good way of course!)

The following images are from my favorite series of works:

Stripes and Diagonals. “At the core of colour is a paradox. It is simultaneously one thing and several things – you can never see colour by itself, it is always affected by other colours.” (Bridget Riley, 2009).

Bridget Riley, Chant 2, 1967

Finding that colour is unstable and tangible, Riley used stripes and to bring about powerful colour interactions – pairing or grouping colours along horizontal or vertical stripes, mixing and creating an illusion of hues.

This was one of my favorite series as the work is simple, in the form of perfect clean lines of pigment, but the mixture of colours really make your eyes work and see colours that aren’t there. It isn’t until you go close up to the painting that you can really see what colours the paintings really possess.

Curves “When colours are twisted along the rise and fall of a curve their juxtapositions change continually” (Bridget Riley, 2009).

This series really made my head go in a spin – I think that even from the photos that I took, you can see the illusion of the waves moving and swirling. It is amazing to think that the paint is static, yet with the application of line and colour, there is so much movement.

Bridget Riley, Drift 2, 1966

Studies “The working process is one of discovery and it is worth remembering that the word discovery implies an uncovering of that which is hidden.” (Bridgit Riley, 2019). – I love this quote – it complies the meaning of creative experimentation perfectly.
I found this part of the exhibition fascinating as it showed us the ideas and some of the mathematical and theoretical workings behind the pieces. They were in themselves, very much pieces of art – intricately applied and thought out. It also made you really appreciate just how much thought and time goes into creating the final pieces of work.

Riley produces full-scale preparatory drawings, from which studio assistants under her assistance complete the final work. This gives her the time to solely work on the theory and studies behind the paintings.

Black-and-White “The basis of my paintings is this: that in each of them a particular situation is stated. Certain elements within that situation remain constant. Others precipitate the destruction of themselves by themselves.”(Bridget Riley, 1965).

Bridget Riley, Fall, 1963

Bridget Riley, Blaze 1, 1962

Even with the absolute basic level – simply black and white paint, the illusion is arguably even stronger. Maybe it’s the contrast or the simplicity that draws it back in but it was an amazing way to end the exhibition.

Overall I was really impressed by the exhibition, I thought it was well laid out and portrayed a real story. The surroundings didn’t take away from the paintings but added something to them – they really made you focus in on the work and allowed space for reflection.

“The eye roams and the brain roams with it. You think you get it, and then you don’t”.

(Guardian, 2019)

The exhibition is on until 26th Jan 2020 and I highly recommend a visit if you get the chance.

Hawthorne & Heaney on the World Illustration Awards 2019

July 15, 2019 by Natasha Searls-Punter

The Association of Illustrators (AOI) have partnered with the Directory of Illustration to bring another year of the World Illustration Awards. With over 3,600 entries, the judges have whittled them down to the final shortlisted 200, showcasing some amazing and diverse up and coming talent. The show has been held annually, in various forms for over 40 years now. Categories range from children’s books to experimental designs.

Full of clever, quirky designs and powerful messages. Important and popular themes such feminism, gender equality, environmental change and the power of technology were all covered throughout the art shown. As well as a broad range of subject matter and mediums, with works in graphics, embroidery and even plasticine!

If These Walls Could Talk by Astrid Jaekel, 2019.

One of my favourite pieces, shown below, Karolina Miękisz has focused her work based on a New York Times article “CSI: Earth” by Gavin Schmidt, where the idea that fingerprints can be traced to find out who and what is responsible for climate change. In the small but effective little artwork, the image slowly moves to show the finger prints moving and spreading into the sky, like smoke out of a factory chimney. Hopefully this gets more of us thinking about our own environmental fingerprints and encourage us to do something to reduce them and help tackle the huge problem of climate change.

Who is to blame? By Emilia Karolina Miękisz, 2019.

Modified Man by Tim Easley, 2019.

Tim Easley’s brief was to design an album cover for the band Modified Man. Taking into account the bands electronic sound, his vision to create a circuit board visual has come to life. Using plasticine and hand techniques to create the intricate work, piece by piece of plasticine layers, the overall effect looks quite something. A really original way of creating this circuit board pattern, Easley shows there are other ways to take illustration.

(Left) Stand design for Freda at Stylist Live by Hazel Mead, 2019. (Right) Alphabets: Phenomenal Women by Elen Winata, 2019.

Gender equality and the promoting of female empowerment were other strong themes within this years exhibition. I was especially drawn to these two based on the bright colours, cool layout and little female icons covering both. In Stand for Freda, the message ‘Period products for all.’ as one of the many slogans within promoting a no shame policy when it comes down to the topic of periods and that free sanitary products should be a basic human right.

Alphabets: Phenomenal Women, show a different branch to female empowerment through capturing our most famous and treasured female icons through time in these fun, stylistic illustrations. The idea that this could educate and teach girls to look up to these kind of role models and inspire them to achieve greatness.

Under the Skin of Endangered Animals by Under the Skin (Duo, Ed and James Harrison), 2019.

Of course, in the current state of the world, issues of the environment, ocean plastics and our endangered species have been another strong topic I’ve seen. Duo Ed and James Harrison are brothers and have teamed as designers to make ‘Under The Skin’, who donate 20% of print sales to charities that specifically work to protect the animal within the print.

Under a UV light, the beautiful animal illustrations show the inner skeleton of the animal is seen, “all that remains if a species falls into the darkness of extinction”. This thought provoking and clever way of incorporating design, activism and unusual materials is a fun way of getting across a strong message and a lot of people stopped to have a go with the UV torch!

Overall, the finalists this year have impressed me. A range of entertaining, interesting and thoughtful works. An exciting exhibition and one to definitely have a visit too.

All images from:

Association of Illustrations, World Illustration Awards 2019: https://theaoi.com/world-illustration-awards/

By Abi Tominey-Smith

Hawthorne & Heaney visits the Sunbury Embroidery Gallery

February 7, 2019 by Natasha Searls-Punter

It is safe to say that there are not that many places around that can say that they are a gallery dedicated to embroidery, but The Sunbury Embroidery Gallery is one of those few. Located in the very quaint Lower Sunbury in Middlesex, this collection of traditional embroidery makes for a highlight in an already lovely bit of the world. Only 3 miles down the river from Hampton Court (where the Royal School of Needle Work is) makes this area a bit of the stitching hotspot.

The gallery is situtated within a historic walled Garden, displaying a collection of work celebrating the local area and commemorating the Millennium. All the work was completed in the year 2000 by 140 local embroiderers taking around 100,000 hours, all overseen by Pam Judd.

In the body of the village panel, a great variety of thread and stitches have been used to build up the effect. Silk shading and french knots are widely used, with some parts stitched separately and applied on later in a stumpwork style giving the piece more depth.

On either side of the village panel are 120 tent stitched community logos showing the supporting organisations such as Spelthorne council. Along side the permenant embroidery exhibit, they have temporary exhibits from other artists such as the current exhibit Jason Hart: A Passion for Wood and Carol Naylor: A Stitched Timeline which goes on display from 26th Feb 2019. Though the gallery may be small, it is a lovely example of community spirit in the form of traditional embroidery. Open Tuesday- Sunday 10am-4pm, admission is free though donations are welcome as it is run by volunteers. The Sunbury Gallery, Walled Garden, Thames Street, Sunbury on Thames, Middx, TW16 6AB

Hawthorne & Heaney visits Anni Albers at Tate Modern

January 21, 2019 by Intern

Six Prayers (1966-7)

Anni Albers (1899- 1994) was a leading innovator of 20th Century modernist abstraction. Her work combined the ancient craft of weaving with the ideas and styles of modern art. She was a lady of many trades: an artist; a designer; teacher and a writer. The exhibition explores different aspects of her life: how her work transitions and evolved as she experienced new things as well as the processes she used to develop her ideas about textiles.

Anni Albers’s eight-harness Sructo-Artcraft 750 loom (Date unknown, wood and metal)

Her career and passion for weaving started when she began her studies at the Bauhaus (Weimar, Germany). It was her that she met her husband Josef Albers. They emigrated to the US (after the rise of Nazism in Germany resulted in the closer of the Bauhaus) where they both became teachers at the Black Mountain College in North Carolina.

Development in Rose II (1952- Linen)

This piece has a subtle colour palette with black used to creates accents within the weave. Lots of texture is created with small twists and knots throughout. These are achieved using a technique known as leno or gauze weave; the vertical warp threads twist over each other around the horizontal weft threads.

Top left to bottom right: Anni Albers and Alexander Reed: Necklace (c.1940- plastic rings on black grosgrain ribbon), Necklace (c.1940- Bobby pins on metal-plated chain), Necklace (c1940/88 reconstruction of the original made by Mary Emma Harris, Eye hooks and pearls on thread), Necklace (c.1940s- Aluminium washers and red grosgrain ribbon).

An interesting section of the exhibit was a glass box filled with wonderful jewellery creations by Anni and a colleague, Alexander Reed. The necklaces shown at the exhibition feature everyday objects such as bobby pins or metal washers. These pieces take items that are mundane and turn them into something unique and sophisticated. Anni Albers was definitely ahead of the times with her inventive ideas, clearly demonstrated here!

Open Letter (1958, cotton)

Featuring a wide range a weaving techniques, Open Letter is a striking monochrome piece. Accents of red are dispersed throughout, breaking up the linework that is similar to zentangling that is seen throughout illustration work popular today. Each column of the piece is constructed from little bars, each with their own personality and style.

Dotted (1959, wool)

This piece was among many ‘pictorial weavings’, created as artwork to be hung as opposed to fabric for everyday use. Utilising an ancient technique, Anni was able to create bobbles on the weave surface. The gradient of colour and the scattered placement of the dots results in a highly textured, playful piece of work.

Intersecting (1962, Cotton and rayon)

Using only four colours for the plain weave ground, a floating thread has been used to create a raised brocade effect. The unplanned nature of these threads was very pleasing to view; the organised base with the random thread creates a visual oxymoron. Work similar to this one stemmed from drawings of knots, tangled lines and mark making that Anni Albers created.

Overall, the exhibition was an excellent glimpse into the creative-mind and thought process of a lady who was an innovator, ahead of her time. This is not a display to be missed, if you get the chance to see it as it closes soon!

By Amy Pickard. All photos by Amy Pickard.

Exhibition Details:

Anni Albers Exhibition

11th Oct 2018- 27th Jan 2019

Tate Modern

53 Bankside, London SE1 9TG

Open:

Sundays to Thursdays: 10:00- 18:00

Fridays to Saturdays: 10:00- 22:00

Ticket Pricing:

Adults £18 / Concessions & Student £17

See the Tate Modern website for further discounted tickets and details.

Hawthorne & Heaney Visits the Yayoi Kusama Exhibition

December 13, 2018 by Intern

The exhibition features new paintings, including works from the iconic My Eternal Soul series, painted bronze pumpkin and flower sculptures, and a large-scale Infinity Mirrored Room, created for this presentation, Kusama’s twelfth exhibition at the gallery.

Yayoi Kusama exhibition Victoria Miro: Infinity Mirrored Room, 2018

Upon arrival, we were ushered up a vertigo inducingly narrow staircase into a dark upstairs, after a brief queue, we were told that we will have 60 seconds in the Infinity Mirrored Room. Infinity Mirror Rooms are an iconic staple of Kusama’s repertoire of work; once these rooms open their doors to a new city, social media swiftly becomes inundated with these tiny universes of cosmic infinity. 60 seconds is nowhere near long enough to fully appreciate this all encompassing experience, however one cannot complain as the queue was but a fraction of the size of a theme park’s.

In the following room, we were greeted with the vision of three immense spotted pumpkin sculptures, another recurring theme in Kusama’s work. Accompanying the sculpture are paintings from the series ‘Dots Obsession’ and other polka dot dominated paintings, this is almost a real-time amalgamation of the whole body experience from the Infinity Room and the everyday life as we see it; fusing both installation and painting together to create a quasi-reality.

Once through this room, we were guided outside to step amongst three larger-than-life sculptures of childlike fantasy polka dotted flowers. Walking through this sculpture terrace feels like entering a scene from The Day of the Triffids, only on a sugar high. Kusama’s poignant hallucinations, for which her art is therapy, are clearly an inspiration for these gigantuan florals. Almost in correlation with Kusama’s rise to fame in recent years, has been the explosion of discussion around mental health and destigmatisation of mental illness.

The final room in the exhibition consisted of a wall of 20 square canvases presented edge to edge; each canvas shows a completely unique composition, we could gather no running theme in these paintings bar Kusama’s distinctive painting style. The sensation of feeling overwhelmed returns; each canvas portrays a keyhole insight into Kusama’s mind, thousands of tiny staring eyes wriggling around in the negative space upon the canvas surface. The shapes appear to move around your peripheral vision; as if they are slothing about when their guardian is not watching.

Our intern stood next to the paintings for some size reference!

We left the exhibition feeling satisfied that our pattern cravings have been satiated – for the meantime at least! Although small, the exhibition packed a mighty, colour filled punch. We’ll be keeping our eyes peeled for the next Kusama exhibition in London anytime soon and will be sure to let you know in advance!

Yayoi Kusama – The Moving Moment When I Went To The Universe Exhibition Visit

3 October – 21 December 2018

Free Timed Tickets, Currently Sold Out

Victoria Miro Gallery, 16 Wharf Road, N1 7RW

By Jessica Strain

Frida Kahlo: Making Herself Up – Exhibition Visit

September 5, 2018 by Natasha Searls-Punter Leave a Comment

The exhibition Frida Kahlo: Making Herself Up is currently at the Victoria and Albert Museum in London and we recently took the chance to visit. This unique show gives a detailed overview of Kahlo’s life: her family and heritage; her politics; her relationship with mural painter Diego Rivera; the near-fatal accident that caused her a lifetime of pain; and most importantly, how she constructed her image and the way in which she lived her life.

Upon Kahlo’s death in 1954, her husband Rivera locked up her most valuable possessions in the bathroom of the Casa Azul (The Blue House, their home in Mexico) and instructed that it not be opened until 15 years after her death. In 2004 this bathroom was opened, and the contents of the room went on display at the Casa Azul as a museum dedicated to her life. These objects are what now fill the exhibition space at the V&A, carefully shipped thousands of miles to be shown outside of Mexico for the first time.

The exhibition begins with old photographs of Kahlo and her family, some of which are adorned with Kahlo’s handwritten notes. Some simply label family members, whereas others are more personal: for example, on the back of Kahlo’s Communion photo she has scrawled “¡IDIOTA!” as she renounced Catholicism later in life.

The show continues through a series of rooms to Kahlo’s accessories: heavy jade necklaces; crescent earrings featuring paired birds, which are traditional of Mexican jewellery; and hand-woven ‘Rebozo’ shawls and ‘Morrale’ sack bags. These items highlight Kahlo’s pride in her Mexican heritage.

We then move on to Kahlo’s possessions, perhaps one of the most personal parts of the exhibition. Intimate items are on display such as used lipsticks and empty medicine bottles accompanied by letters to and from her various doctors.

Kahlo’s suffering due to childhood polio and a car accident at the age of 18 lies at the foundation of some of these objects. For most of her life she wore uncomfortable corsets to help support her back and alleviate pain, some of which were made of plaster and decorated with painting as Kahlo used them like a canvas.

Finally, the main feature of the exhibition is a stunning display case of Kahlo’s clothing. Kahlo is renowned for her combinations of indigenous garments from different regions of Mexico, and she was photographed in such outfits many times. To see them up close in real life is breathtaking.

Detailed embroidery is present in most of the outfits, from complexly shaded flowers and birds to cross stitch to traditional Chinese embroidery (due to Kahlo’s fascination with Chinatown when she moved to the USA with Rivera). The exhibition gives details of her most striking outfits, describing how she was followed by children when in the USA, who asked “Where is the circus?”.

There are some of Kahlo’s paintings – mainly self portraits as she used herself as a subject when painting from her bed – but the exhibition mainly focuses on Kahlo’s items and how she presented the complex layers of her identity within her life. It states that her wardrobe was not staged: she dressed up even when she wasn’t expecting visitors, and even when she was in bed rest.

Frida Kahlo: Making Herself Up is a bewitching and intimate exhibition. The items on display are fascinating, and through them the personal details of how Kahlo naturally lived an artistic life – despite her misfortunes and pain – are revealed. A must-see for anyone interested in textiles, and anyone interested in Frida Kahlo’s complex and inspiring life.

Purchase tickets at the V&A website here.

Written by Laura Hill