Male Embroiderers

It's another Stitchgasm from Mr X Stitch - the home of contemporary embroideryI’m definitely developing a thing for patches and this little number by Javier IA, aka Gnosick, is just making things worse. It’s damn cool, huh?

I'm Not From This Planet Patch

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Stitchgasm – Jimmy Brunt

by Mr X on 18 March 2015

It's another Stitchgasm from Mr X Stitch - the home of contemporary embroidery

Thanks to Jimmy Brunt for reaching out to share this great piece of work:

Jimmy Brunt's Mixed Media Portrait

“It’s a very intricate, hand cut stencil, over-which I spray paint, tea, acrylic, and ink, and then I embroider it.  This piece is almost finished, but more thread to add. They take about 6 weeks each.”

Jimmy Brunt's Mixed Media Portrait

Jimmy’s a talented son-of-a-gun – check out his stencil work! I’m glad to see him coming over to the stitched side!

Jimmy Brunt's Mixed Media Portrait

This is a damn cool stitchery and I love it when people mash together various media like this. I look forward to seeing what else he comes up with!

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eMbroidery – Paul Yore

by Mr X on 8 March 2015

eMbroidery - A Series Of Interviews With Men Who Stitch

Welcome to eMbroidery, a series of interviews with male embroiderers. This month, Paul Yore.

Name: Paul Yore

Location: Sydney, Australia

Main embroidery medium: Wool/mixed media

Paul Yore, Boys Gone Wild 2012 (detail), Wool needlepoint 200cmx90cm. Collection Heide Museum of Modern Art.

Noteworthy projects or pieces:

Boys Gone Wild, Poetry, Dream and the Cosmos: The Heide Collection, Heide Museum of Contemporary Art 2013; EVERYTHING IS FUCKED, Like Mike, Linden Contemporary, 2013; WELCOME TO HELL, Primavera, Museum of Contemporary Art, 2014

How did you come to be an embroiderer?

For me, embroidery has been an extension of other craft methods like quilting and needlepoint. My beginnings were in needlepoint, which I taught myself slowly and rather randomly following a personal crisis in my life. It helped me to work through some stressful times.

What does it mean to you?

It’s meditation and therapy. It’s another world. Stitching things, sewing things, weaving, using fibres – these are really ancient processes. I believe there is a subversive element in choosing to work like this, to adopt these slow, laborious methodologies of image making in the computer age where everything is expected to happen instantly.
Where do you like to work?
One thing I like about stitching is it is very portable work. I work in my studio on large pieces but I also like to work in bed, sometimes watching trash on television or else listening to music. If the football is on, I’ll watch that and stitch.

Paul Yore, Everything Is Fucked 2011. Private collection.

How do people respond to you as a male embroiderer?

Well, because my work deals heavily with homoerotic themes and notions of queer identity, I guess the fact I use textiles is easy to dismiss, because needlecrafts are seen (erroneously) as a feminine thing, or a gay thing. For me, the fact I’m a man doing this doesn’t really enter into the equation. Men have stitched and sewn and woven for centuries, soldiers and sailors and tradesmen and tailors.

Who inspires you?

Leigh Bowery, Mike Brown, Henry Darger, Ginger Riley Munduwalawala, Hieronymous Bosch, Cher, heaps of people!

How or where did you learn you learn how to stitch or sew?

I taught myself the needlepoint technique through experimentation but my first exposure to this way of making was when I worked in a nursing home for the elderly. The walls were decorated with the various eclectic productions of the residents at the home. Most pieces I saw there were the pre-printed designs that you stitch “by number”, but I think those are fabulous in their own right – kitchy, banal subjects like idyllic landscapes sometimes in psychedelic colours. Seeing these works everyday for three years definitely informed my taking up the needle.

Paul Yore, Map 2012. Wool needlepoint, 101cm x 90cm. Collection Art Gallery of Wangarratta

Are your current images new ones or have you used them before?

There are motifs that I will return to over and over – certain symbols or images that reoccur in my work like mushrooms, pineapples, phalli and skulls. Other images are new – I’m constantly incorporating new images.

How has your life shaped or influenced your work?

I think all artists are inseparable from their work in a sense; all art can be partly understood through the lens of the biographical.

What are or were some of the strongest currents from your influences you had to absorb before you understood your own work?

I am constantly relooking and rethinking about what I’m doing and why I’m doing it. For me, the biggest challenge in my work is to view it in relation to the question of Australian history and the notion of identity in a colonial context. Australia is a deeply divided place, still wounded by invasion and colonial violence.

Paul Yore, WELCOME TO HELL (2014). Mixed media textile found objectsmaterial, beads, buttons, sequins, plastic flowers, felt, wool, cotton thread. Dimensions variable approx. 2.9 metres x 2.6 metres

Do formal concerns, such as perspective and art history, interest you?

Absolutely. In many respects classical aesthetics has informed my work more than contemporary conventions. I have researched medieval tapestry production and am really interested in the way figures ‘sit’ within the picture plane in these works. I also like ancient Egyptian art for this same reason, everything is highly stylized and flattened, but this creates a new type of space.

What do your choice of images mean to you?

I choose images that have a resonance with the concerns I am addressing in my work, although at times there is no rational explanation for what I depict; I like juxtaposing random things and creating new worlds of meaning. Sometime I choose things simply because they work formally.

Do you look at your work with an eye toward it like what can and can’t be visually quoted? In other words what you will or won’t cut out?

I’m not really concerned with that. If I like it, I put it in. It might be a quote from a Paris Hilton song, or a figure drawn from Grecian statuary; I sometimes draw figures from gay porn. For me, everything becomes newly available and open for question in an art context, even though people are still scared of art – I think it is a safe space to address difficult questions.

Paul Yore This Moment Is Critical 2014 Mixed media textile found objectsmaterial, beads, buttons, sequins, felt, wool, cotton thread. Dimensions variable approx. 2.9 metres x 2.5 metres

Do you have any secrets in your work you will tell us?

All my secrets are there in my work, if you look hard enough…

How do you hope history treats your work?

It will probably get burnt for fuel when all the coal runs out!

Where can we find you and your work?

www.paulyore.com

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eMbroidery was created with the support and wisdom of the magnificent Bascom Hogue.

If you are, or know of, a male embroiderer that we should interview as part of this series, contact us!

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It's another Stitchgasm from Mr X Stitch - the home of contemporary embroidery

Without a doubt, Lord Libidan is one of the most experimental cross stitchers out there, and we’re proud that he’s part of the Mr X Stitch family.

Lightsaber Blueprint

 

This amazing piece is yet another example of his greatness: “After visiting the Pompidou Centre in Paris, I had an idea for an archaeological blueprint. Also resting in my mind was my recent sabre handle. Within a week I had researched, designed and stitched this piece. I also intend to extend this idea to larger scale projects.”

Wicked cool.

 

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Weave - A Social Network for Stitchers

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