Erin Endicott: Healing Sutras
Erin Endicott, Healing Sutra #6, 2010, hand embroidery on antique fabric stained with walnut ink, courtesy of the artist.
Some people talk about their pain to help the healing process, others write about it privately in a diary or publicly in a blog.
Erin Endicott shares her pain by drawing with thread, stiitching and inking vintage fabrics to create powerful images of wounds inflicted. The result is a searing collection of work titled "Healing Sutras," which opens at the Hunterdon Art Museum on Sunday, March 16, and runs until May 11. The opening reception, which is free and open to all, will be Sunday, March 23 from 2 to 4 p.m.
In the "Healing Sutras," Endicott uses contemporary embroidery on antique fabric as a canvas to explore the common threads that bind countless generations of women. Wounds - physical and psychological - come to life with her delicate, meditative stitches.
The "Healing Sutras" are all created on vintage fabric passed down by the women in Endicott's family (think of the pieces of cloth stashed in boxes under your grandmother's bed). She typically creates the initial marks of the "wounds" by staining the fabric with walnut ink, the natural dye imparting color variations and warm, earthy tones to the work.
"Ink on fabric has a mind of its own - it takes the control away from me and does its own thing," Endicott said. "It is magical to drop the ink onto damp fabric and literally watch the 'wound' grow and take shape before my eyes."
Then Endicott begins the healing process of "drawing on thread," the meditative work of stitching on fabric.
"Drawing is my first love," Endicott said. "I have always done very intricate, detailed pencil drawings, and I do the same thing with thread except that it is much slower, allowing me to consider each mark - to 'feel' each mark as it is 'drawn' upon the fabric."
Healing Sutras grew out of years of work examining the origin of psychological wounds and how they simmer beneath the surface in our daily lives. Endicott says she became particularly intrigued by the concept of inherited wounds, specific patterns, behaviors and reactions that we are born with - those already seeded into one's psyche.
"I imagine that this little 'seed' attracts negativity, sort of like a pearl slowly growing until we end up with a dense area of negative energy built up in our physical bodies," Endicott said. By bringing these dark areas into the light and making them visible, Endicott hopes those wounds can heal.
"One stitch at a time, hour after hour . . . this is where the healing lies," Endicott said.
"All I can hope is that viewers are able to allow themselves to be opened up, to be stirred up by viewing my work, letting their defenses down for a moment to allow the light of healing to sneak in," Endicott said.
Endicott was the recipient of a 2012 New Jersey State Council of the Arts Fellowship. Her Healing Sutras have been exhibited at national and international venues, ranging from the the Art Piece Gallery in Mullimbimby, Australia, to the Wexler Gallery in Philadelphia. She studied textile design in Scotland before completing her fine art education in Philadelphia.
Jae Yong Kim: I [Heart] Donuts
Jae Yong Kim, OUCH!, 2013, glazed ceramic and Swarovski crystal, 24X13X7, courtesy of the artist.
Who's hungry for a donut?
The Hunterdon Art Museum aims to satisfy your sweet tooth and hunger for quality art with its latest exhibition "Jae Yong Kim: I Donuts" running from March 16 to May 8. The opening reception will occur Sunday, March 23 from 2 to 4 p.m. The event is free and wine and donuts will be served.
Kim's ceramic sculptures depict snails that love donuts and can't get enough of them. Colorful ceramic donuts hang from the walls tempting snails and exhibition goers alike.
The exhibition takes aim at our guilty pleasures and how our resistance can easily cave. But rather than force us to wring our hands and feel guilty, Kim uses satire and humor to explore our desire for the things we want that aren't good for us.
So, why snails?
"Snails to me represent an inner battle within people of this contemporary society, Kim said. "Because we live in an incredibly fast-paced culture that encourages and requires people to have confidence and strength, there is seldom any room for failure and doubt, even though these are essential elements in life and absolutely necessary for growth."
Kim said he has had a difficult time defining what "home" is because he's moved so frequently, primarily between Korea and the United States. To him, "home" is a verb - not stable or comforting - but something that is always changing, always moving. Kim uses the snail because it carries its home - a shell - on its back wherever it goes, representing a nomadic way of life.
Another reason can be found in the writings of Carl Jung, the Swiss psychiatrist and founder of analytical psychology. Jung said that a dream of a snail is representative of the self - the soft body representing the subconscious and the hard outer shell representing the conscious.
Kim's work could be viewed at the Museum last year during its "East & West Clay Works Exhibition." Educated at Hartford Art School in Connecticut and Cranbrook Academy of Art in Michigan, Kim has been featured in a large number of group and solo exhibitions, primarily in galleries between Michigan and Connecticut, and in solo exhibitions at the University of Bridgeport's gallery and New Space Gallery at Manchester Community College both in Connecticut.
GLASS! From the Creative Glass Center of America at WheatonArts
Susan Taylor Glasgow, Secretly Sexy Toaster Cozy #1, Fused, slumped, sandblasted, enameled, sewn glass, 15.25 in.
GLASS! From the Creative Glass Center of America at WheatonArts
Our newest exhibition celebrates some of the first-rank glass artists whose work can be found in international museum collections as well as some of the top young emerging artists.
GLASS! From the Creative Glass Center of America at WheatonArts" opens Jan. 12 and runs until May 11. Viewers will enjoy a wide array of works from vessel-based sculptural pieces, to a print made by glass to a bust of President James Buchanan. About 35 glass works comprise the exhibition.
"Glass is a supremely practical material - almost magical in the way it contains and remains transparent and unaffected by its contents," said Robin Rice, guest curator for the exhibition. "But glass can be much, much more than useful. Artists today recognize it as one of the most versatile materials and its potential has not been fully tapped. In our show at the Hunterdon, we have, for example, several examples of surrealism, masks, a pop art toaster, and a three-dimensional interpretation of Northern European still-life painting."
Because glass artists are focusing more on process - the act of manipulating hot glass or incorporating it as a key component of their creations - the exhibition will include videos showing the artists at work.
"So many people who become involved with glass initially are drawn to the dramatic, performative aspect of glass blowing or hot pouring," Rice said. "It's dangerous, it's dance-like and it's beautiful to see."
The Creative Glass Center of America at WheatonArts offers fellowships to artists working in glass and has serviced glass artists and the arts community for 22 years. Close to 300 professional and emerging artists representing 25 states and 22 countries have received CGCA fellowships. Some of the most exciting glass work in the past two decades has been created by artists who have held CGCA fellowships.
All of the work in this show has been created by CGCA fellows. Among the many noteworthy pieces in the exhibition include David King's "Security Bottle" (2011). The piece is shaped like a scotch bottle but made from glass embedded with wire like a security window.
"Seeing the world through a bottle, King suggests is a kind of passivity, a weakness, but he has said that he does not intend to send a simplistic puritanical message. The sense of celebration and good times embodied in the archetype - expensive whiskey - is paradoxical."
Karen LaMonte's untitled hand mirrors (2003) is another fascinating piece. LaMonte is internationally celebrated for making full-scale casts of clothing that function as graceful figurative sculptures. "Her work addresses the way we see and define ourselves through clothing, hair and make-up," Rice said. "It moves beyond the sense of a historical critique to a recognition of inevitability."