Cutting & Stitching Edge

The Cutting & Stitching Edge | Contemporary Embroidered Art from Mr X Stitch

Deborah Simon is a mixed media artist from Brooklyn, USA.

Deborah Simon - Ursus maritimus

“My work walks the line between taxidermy, toy and sculpture. Each sculpture is meticulously fabricated to create an unnervingly accurate but slightly off version of the natural animal.

Deborah Simon - Ursus maritimus - back

“Evolution has always held a particular fascination for me, informing how I create and group the animals in my work. As I’ve read and dug through museum collections to research my pieces, western science’s mania for labeling, codifying and collecting has stood out. Most of this categorizing bears little resemblance to how animals and plants exist out in the natural world and I find this disconnect fascinating.

Deborah Simon - Ursus americanus

“The Flayed Bears play with ideas around stuffed toys, taxidermy and classification.  Bears especially interest me as they are the ultimate stuffed animals; both the iconic plush toy and the prized taxidermy specimen for hunters. Most of all the sculptures deal with vulnerability. A stuffed bear is the enduring toy of childhood. The fierce predator declawed and defanged to become a child’s beloved friend and sense of security. The pieces explore the tension between the reality of the animal and the vulnerability imbued in toy.

Deborah Simon - Ursus americanus - embroidery

Their fur is removed on the body, leaving a linen skin, as if they’d been flayed or like undressed porcelain dolls, with the hard sculpted fur covered head and paws connected to the soft linen body. On the linen I’ve embroidered different organ systems that I felt best represented each species.”

Deborah Simon - Ursus arctos horribilus

I find these pieces incredibly powerful. Not only are they physically large, and therefore a feat of technical expertise, but the characterisation of the bears and their subsequent flaying is really quite moving. Reminiscent of bad circuses from the past, you can feel the pain of the animals, their stance suggesting captivity.

Deborah Simon - Ursus arctos horribilus - embroidery

The removal of skin and embroidery of their inner workings elicits a response akin to that of traditional taxidermy – despite how cool small bits of taxidermy might be these days, there’s something haunting about seeing big beasts turned into trophies. Deborah’s work is simply clay and fur and stitch, but her execution is so well done that I feel like crying at the demise of these beasts. It’s wonderful work.

Deborah Simon - Ursus maritimus - face detail

Connect with Deborah via her website.

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The Cutting & Stitching Edge is brought to you in association with PUSH: Stitchery, the must-have embroidered art book by Mr X Stitch !


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The Cutting & Stitching Edge | Contemporary Embroidered Art from Mr X Stitch

Dorcas Casey is a textile artist based in Bristol, UK.

Dorcas Casey - Bull

“The impulse to make sculptures based on recurring motifs of animals in my dreams is what fuels my practice.  These images come with an intrinsic sense of vitality and importance and demand to be made into something physical. Seeking to translate the mysterious power of these dreams into tangible objects, I create sculptures that appear uncanny and ambiguous.  For me, these sculptures embody a myriad of emotions and sensations in one piece; exploring the unconscious associations we have with familiar creatures.

Dorcas Casey - Goat

“Fabric is so malleable it allows me to make my sculptures articulated at the joints. It lends itself to transformation into anatomy because it flexes and stretches like real skin, muscle and sinew. My sculptures slump, lean and move like real bodies. I like this potential for movement to be visible in my sculptures even though they’re static.

Dorcas Casey - Sow

“I use hand stitching as the main method of construction for my sculptures, this keeps me very close and involved with the work- I like it’s association with mending, darning and nurturing combined with it’s more macabre connotations of suturing, taxidermy and surgery.”

Dorcas Casey - Leap

Dorcas’ work is undeniably dramatic and technically astounding. The size of the pieces and the realistic construction is overwhelming, and yet their softness takes the edge off the work, making it more palatable.

Dorcas Casey - Bull (detail)

I’m always amazed by soft sculptures and these pieces are a fantastic example of why. Dorcas’ beasts are powerful creations that explore life and death; the bull lies inert, as though it were a piece of meat, yet the contrast in colour and texture of the animal emphasises the unreal quality of the situation. We make a disconnect between the magnificent animals grazing in the fields and the meat that appears on our plates. Somehow Dorcas’ work makes us revisit those notions and think twice.

Dorcas Casey - Sewing Box

If you’re near Bristol, you can see these works in the wild at the Gravitas exhibition at Antlers Gallery which runs until 21st April. Be sure to visit Dorcas’ website to enjoy even more of her powerful pieces.

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The Cutting (& Stitching) Edge is brought to you in association with PUSH: Stitchery, the contemporary embroidered art book curated by Jamie Chalmers. Featuring 30 textile-based artists from around the world, it’s a must have for needlework fans.

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The Cutting & Stitching Edge | Contemporary Embroidered Art from Mr X Stitch

Louise Saxton is an embroidery artist from Melbourne, Australia.

‘Maria’s Saturn 2011 – after Maria Sybilla Merian c1700’ Reclaimed needlework, lace pins, nylon tulle 55 x 71 cm

Louise Bourgeois’ said about her art practice; “I do, I undo and I redo”. This resonates with me, but in the case of my reclaimed textile works it’s more like, “I pin, I unpin and I repin”. Sewing pins are intrinsic to my work with reclaimed textiles and, over the past seven years thousands of them have been subsumed into my artworks. The more I use them, the more intrigued I am by their meanings and history – a very practical and useful object they also have the ability to draw blood!

“I began dissecting cast-off domestic textiles, such as embroidered doilies and lace tablecloths and skewering the extracted motifs to swathes of tulle in 2006, after returning from an artist residency in Malaysia. I have long been intrigued by the cross-cultural nature of domestic art traditions such as needlework, which I also found to be an abundant, yet diminishing, resource when I returned home – my neighbourhood is host to no less than seven charity shops, where I source the bulk of my material.

“Textiles that is, not pins, as these have to be purchased brand spanking new from the haberdashery wholesaler.

Louise Saxton - Doiley Case (2014)

“When I first began deconstructing the humble doily in early 2007, it was as if the redundant functional object was crying out to be transformed into something new – something of an entirely different, and sometimes even sinister nature.

“And, it was as if the original anonymous needle-workers were also asking for recognition, anew.

“The exotic garden of my Malaysian residency must have also seeped into my subconscious, as the doilies very quickly became a collection of fantasy insects. The redundant table linen had grown legs, walked off the dinner table and climbed up on to the gallery wall!

‘reCollection – specimens 1-67’, 2008 Reclaimed needlework, silk, lace pins, nylon tulle

“Since 2007 countless embroidered and lace motifs, painstakingly extracted using embroidery scissors, have been skewered upon a sheer support of nylon bridal tulle, by glimmering stainless steel or brass pins. These are used for their archival qualities, but I’m also partial to the gorgeous glass-headed sewing pins, which can’t be guaranteed not to rust, but will add the perfect glint to a bird or insect’s eye.

“My fingers are callused from thousands of pinpricks and my shoulders often ache from the repetitive process of cutting, pinning, unpinning and repining. But, the joy of seeing the final transformation – of the many disparate fragments into the whole – is worth the blood, sweat and tears.

‘Queen Billie 2010 – after Sarah Stone 1790’ Reclaimed needlework, lace pins, nylon tulle 127 x 95cm

 

There’s a lot that I like about Louise’s work. From a technical standpoint, each piece is filled with design detail that draws you in and can keep you exploring her pieces for quite some time. The recycling and repurposing of materials is elaborate, helping you to rethink the concepts of decoupage and collage. It’s easy to see the starting point of the idea, but Louise raises these techniques to high levels indeed.

Louise Saxton - Halcyon & Ceyx (2010)

The pieces are beautiful and yet many of them have the slivers of darkness that this kind of work needs. Older materials come from an less cynical era (perhaps) and Louise melds them into new works that celebrate death and fear almost as much as their original creations may have celebrate happiness. It works for me.

Louise Saxton - Right Place Wrong Time (2011)

 

Visit Louise’s website to find out more about her and enjoy more of her work.

Photos by Gavin Hansford, Andrew Wuttke and Louise Saxton. Copyright Louise Saxton

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The Cutting (& Stitching) Edge is brought to you in association with PUSH: Stitchery, the contemporary embroidered art book curated by Jamie Chalmers. Featuring 30 textile-based artists from around the world, it’s a must have for needlework fans.

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The Cutting & Stitching Edge | Contemporary Embroidered Art from Mr X Stitch

 

Amy Fredman is a textile artist from Kansas City, US.

Amy Fredman - The Frogs - Machine Embroidery

“I practice a form of thread painting using a non-computerized home sewing machine. My intention is to approach the use of stitch placement from the perspective of a painter. With the careful distribution of sewn color gradients and layers, I am able to express depth and what appears to be color “mixing” as well as achieving texture through directional changes and stitch strokes. I emphasize that I do not use a computerized sewing machine because my goal is to create something a computer, or programmable machine, is not capable of.”

Amy Fredman - Anna - Machine Embroidery

I love to see sewing machines being freed for work like this. Over on Gear Threads we’ve featured plenty of machine embroidered art, but I decided to keep Amy for myself. Her portraiture isn’t a million miles away from Cayce Zavaglia, however the technique behind it has great merit.

Amy Fredman - Taco Cat - Machine Embroidery

Amy makes this work look effortless, as though it was a simple process to build the layers of colour and depth. I really enjoy her choice of content as well, as the fresh approach is a great tool for removing those all-to-familiar intellectual barriers.

Amy Fredman - Rita - Machine Embroidery

It’s great stuff and I’m grateful to Amy for reaching out and sharing her work. Find out more about Amy at her website.

 

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The Cutting (& Stitching) Edge is brought to you in association with PUSH: Stitchery, the contemporary embroidered art book curated by Jamie Chalmers. Featuring 30 textile-based artists from around the world, it’s a must have for needlework fans.

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