An Unfolding Interest
My mind has been on folds and structure of late as a result of several strange juxtapositions in life. Visiting the Lost in Lace exhibition in Birmingham was a sentinel experience, as for many. Michael Brennand-Wood, one of the exhibitors is a master at bringing disparate streams of thought together – music, lace structures, war, male imagery, etc – usually with a great title which somehow brings all the connections together.
Many other exhibitors showed works involving vast areas of lace, sheer and ephemeral whilst at the same time delineating space almost (but not quite) like solid structures. Around about the same time I came across a bargain book I couldn’t resist, simply because it had such an intriguing title Drapery: Classism and Barbarism in Visual Culture by Gen Doy. This is an academic book, covering many strands of thought- classical drapery on statues, in the fashion world since, drapery as fetish, to reveal and conceal and so on – aspects of structure again. One of the may contemporary artists discussed in the book is Alison Watt. As a child Watt was intrigued by Ingres Portrait of Madame Moitessier in the National Gallery, focusing on the lavish fabric and its folds as much as the portrait’s subject.
Is this discussion relevant to Textiles as opposed to Painting? Well, yes I feel it is – how could anyone who works in fabric and loves the stuff, fail to be moved by the way Ingres works it? You can almost feel the weight, touch the raised embroidery.
Alison Watt paints in oils, her early work was of nudes, depictions of light and shade on bare flesh focusing on textural surface quality. One day after the life model departed, she realised that the fabric around and beneath was as, if not more, important for her, and so came the switch to painting fabric alone. She has a vast stock of fabric in her studio and handles it constantly, watching the way it falls, the way the folds form in different weights and textures. Again, this says a lot about a love of cloth that many of us have, its very sensual nature and (apologies to Michael Brennand-Wood) its very feminine affinities and associations.
What’s fascinating is how her work became more and more focused and abstracted over time. Watt, when asked what her paintings are about, says she doesn’t know – the meaning is different at any one time and on many different levels. The light and dark and patterns created by folds, references to other work of art, femininity and sexuality, even religious adulation. Some of her work is commissioned to hang in places of worship as they echo the folded garments of Christ on the cross, the Madonna and Saints- allusions to which she is fully conscious. Like some of the pieces in Lost in Lace, these are monumental, breathtaking pieces of work. Speaking from a textile point of view, what strikes most about her work is that love of fabric, the pleasure in those self referential qualities which belong to cloth alone. I’ve seen many, many thousands of things made out of fabric over a lifetime – painted, sewn, embroidered, woven and so on – but nothing for me expresses that joy of the pure structure of cloth and the way it moves and says things, so much as Watt’s paintings. Perhaps it takes another medium to carry that?
Alison Watt had a residency at the National Gallery from 2006-7 ending with an exhibition entitled Phantom. There are still some supplies of the catalogue and an accompanying DVD about her work. At the time of writing both are in The National Gallery shop sale at the ridiculously low prices of £2.50 and £3.99 respectively, so grab yourself a bargain fast! The DVD at nearly an hour long is a really informative programme about her work and I was spellbound all through it. An equally good bargain, Drapery: Classicism and Barbarism is available through Amazon marketplace from £2.71 for a new copy of the paperback edition.
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What a wonderful article, particularly about Alison Watt, the sheer scale of Enveloped by Cloth is awe inspiring.
Thanks Sian; yes the sheer scale is awe inspiring, reminding me of the way Monet’s later waterlily studies envelope the viewer due to their enormous size
Although not a textiles student I was very interested to read what you say about Alison Watt, as she is one of several contemporary women artists whose work I am very drawn to. She had an exhibition in Edinburgh earlier this year – “Hiding in Full View”. The conversation event between Watt and the curator of her London exhibition that you mention, was fascinating. Two details that come to mind – the fact that the seemingly white surfaces are typically the result of adding many layers of colour but in tiny amounts; and that the narrow oblongs of many of her works are a cinematographic format rather than traditional landscapes. The interviewer commented that this focuses our attention on what is really in the work rather than automatically reading it as a landscape.
Of course there is much more to the work than just these two details. I wondered, in mentioning them, if they have any relevance for textile students? Anyway I feel her work is very well worth looking at and it was a pleasure to find it celebrated here.
Roberta
Hi Roberta, I found that conversation utterly fascinating too! I think they are lots of often changing references to all sorts of things in her work, as Watt describes. I believe her work does have relevance for textile students, not just because she depict fabric. Fine art and textile art often merge into each other nowadays and textile artists need to view other forms of visual art because so many concerns are shared ones.
Hello Trisha…thank you from a “not-quite-yet-OCA-student” for a wonderful article which was so inspiring that the Phantom DVD is now winging its way here! I began to be interested in the folds and creases in fabrics after reading and looking at “Breathing Space” by Katya de Grunwald in “Selvedge” Issue 33 Mar/Apr 2010. There is a strange beauty in the space created by a folded fabric!
Thanks Jenni, for reminding me of that article in Selvedge, I’m just about to re-read it again! Hope you enjoy the DVD when it comes and also wish you well if you do become an OCA student. I read that Alison Watt doesn’t make her bed as she enjoys the creases, dips and shadows in unmade white cotton sheets and the feel of nesting back into it, unmade. I really approve of that!
to see the world in a grain of sand… and the macrocosm in the microcosm. The weft and warp weaves and flows through the fabric and it’s folds capture the light and shadows. It’s wonderful to be reminded of the magic of the mundane, and how it can spin it’s web of myth and mystery in our imaginations. I think I’ll leave my bed unmade as well and enjoy the ‘land of counterpane’ Thankyou,Annie
Textile artists and painters alike should also look at 17th century Dutch genre painters- not just the obvious Vermeer, but Terborch, Maes, de Hooch and others. Their treatment of satin is sublime.
Many thanks for your interesting and informative article Trisha. It reminded me how much I had admired Portrait of Madame Moitessier by Ingres when I had seen it years ago so I went along to the National Gallery for another look. Once there, I also remembered having been fascinated by the exquisite lace detail on the dress of Madame de Pompadour at her Tambour Frame by Drouais so I checked that out too. Two fabulous paintings, enjoyed once again, by a fine art student interested in textiles!