Tapestry Topics
A Quarterly Review of Tapestry Art Today
page 4
Fall 2003 Vol 29 No 4
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"Black" were unnecessarily mounted with a more detailed drawing on paper of the human form. Carol Llewellyn’s tapestry of twins captures their wide-eyed wonder. It is the most successful portrait in the exhibit. In "Soo Ling," Marielle Snyder effectively captures rich Asian garments.

The large "Portrait" by Monique Lehman was a phenomenal likeness with very skin like variation in the details of the face. Rough textures intermingled in the cap and hair of a lovely young woman. It came as no surprise that someone classically trained in Poland wove it.

Interestingly enough, the same artist also wove three other pieces included in the show. The kitschy "Black and White" depicted a horse’s head that has a burlap-like quality created through its rough texture, and palette. (see page 2) "Stained Glass" a large tapestry with open areas and slits as well as "Ultimate Tube" seemed very heavily related to the macramé and weaving styles of the1970s. In combining irregularly shaped tapestry with leather and wire, Betty Hilton-Nash also resulted in a dated look. My guess is that the dates when the pieces exhibited were woven span quite a time frame. More careful editing of work would have helped this problem.
Michael Rohde, Bosporus, 62" x 38", 2000
even smaller "Philosopher's Dream" drew the viewer in through its scale and tightly woven areas of color. He, too, used irregular edges to heighten the effect.

Deborah Corsini created wonderful, undulating edges through the use of the Navaho wedge weave technique in "Code Talking" (see page ) and "Shield". Despite Navaho references, these weavings felt fresh and original. Bonnie Bird Liebhold’s abstract weavings were very reminiscent of Greek fisherman bags. Despite the titled "Southwest 2" the colors belied the Southwest reference. Marielle Snyder gave a science fiction feel to her subject" Calling Me Home", perhaps referring to shared near death experiences. It showed a welcoming tunnel surrounded by lightening bolts.

"The Red Nude" by Constance Hunt interestingly
mimicked a very masculine print over a nearby
salesman’s desk. Her exploration of a nude nicely
abstracted the figure into an undulating line. "Red" and
Deborah Corsini, Code Talking, 39" x 28", 2002 photo by Rose Kelly
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