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Review of TWS “Southern Yarns”
By Sandy Adair
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The show offers a wide variety of approaches to tapestry: abstract, academic, pictorial, geometric, multi-media, and well rendered three-dimensional work. Exceptional use of color is one of the most successful aspects of the show. From the subtlest naturally dyed hues to the most colorful, the selections, in combination with texture and yarns are right on, exemplifying individual approaches to weaving and life. Portraits, nature studies, humor, abstraction, and powerful political statements are just a few of the subjects featured.
Pat Williams’ attention to detail, edgy humor, and exceptional technical skills delightfully combine with her strong color sense. The colors pop in fluid combinations of yellows, pastels, bright accents and sparkles…
Williams makes us forget the slow tedium that is tapestry weaving. A realistic landscape, "Barking at the Moon," is one of my favorite Pat Williams tapestries. The balanced design, exceptional detail, and the vivid yellow/blue color scheme are dynamic.
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below: Pat Williams, "Barking at the Moon," 16 " x 16", 2006,
Photo by Randy Crump
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below: Pat Williams, "Last Grasp 18" x 47", 2006
Photo by Rosemary Smith
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...Eva Cassel’s “Cassels in the Sky” is a brightly colored and deliciously executed small weaving that captures all the wonder and joy of adventure. Cassel’s shadowing also displays a real understanding of composition and design, and I loved the expression on the green face.
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below: Eva Cassel, "Cassels in the Sky," 16" x 12", 2006
Photo by Nikki Josheff
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There are many marvelous renderings of the natural world: The incredible detail revealed in the specimens that artfully eye you from Terri Stewart’s small group of weavings, “Critters, Are You Looking at Me?” ...speak powerfully for her appreciation of the natural world.
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below: Terri K. Stewart, "Critters, Are You Looking at ME?" 10" x 10", 2006 cotton, rayon, wool
Photo by Nikki Josheff
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Several portraits really stood out for their fresh approaches. Linda Weghorst’s “BB and the House of Blues'” variegated yarns and bright beadwork background recreates a neon lit smoky dive filled with soulful sounds of blues. BB’s face and hands, in superb shadowing, are woven in solid yarns. Terri Stewart’s narrow, vertical, Lichtenstein-like, black and white portrait, “Veiled Glances,” uses line well and is an exceptionally powerful, well-rendered portrait.
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Below: Linda Weghorst, BB and the House of Blues,
13" x 13.5" x .25" (16" x 16" mounted), 2006,
10 e.p.i., Cotton, 1 strand Halcyon Maineline with 2 strands Shannock wool, glass seed beads, and cut cylinder beads
Photo by Nikki Josheff
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Below: Terri K. Stewart, "Veiled Glances," 50" x 14", 2004 cotton
Photo by Nikki Josheff
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Joan Griffin’s… “Black Seeded Simpson,” and “Wisteria” also catch the movement, dance, and union of nature with itself. The detail and subtle use of color captures the rich flow of life. lack Seeded Simpson,” with its deep fecund undergrowth of brackish greens and blacks contrasting with the outrageously vibrant new growth chartreuses, is a reminder of the power of nature.
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Below: Joan Griffing, "Wisteria," 48" x 24", 2005
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Below: Joan Griffin, "Black Seeded Simpson," 11" x 20", 2005
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Becky Stevens “How Can You Say That?” catches the moment of secrets shared using just about every tapestry technique available. Her pictorial imagery is outstanding. Technically, her layering, design within design, and color blending is remarkably competent. The veil is amazing and makes this one of my favorite entries.
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below: Rebecca Stevens, How Can You Say That?, 20" x 24", 2006
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