Tapestry Topics Online
A Quarterly Review of Tapestry Art Today

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Summer 2005, Vol 31 No 2


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... Aesthetic Influences: Susan Iverson

Susan Iverson

Richmond, Virginia

– TT p.6-7

We seldom know when something that we see will truly affect our lives. . . When I first saw “Yellow Braid” by Herman Scholten, I was fairly young and had seen almost no contemporary art that was woven. . . – TT p.5-6

below (1 and 2), Herman Scholten, Yellow Braid, 1969
Yellow Braid
can be seen in
Mildred Constantine and Jack Lenor Larsen, Beyond Craft: The Art Fabric, (New York: Van Nostrand Reinhold), 1973, p.254-5.

I didn't just see Yellow Braid – I experienced it. It made me really come to terms with the physicality of tapestry. It was over six feet tall and almost nine feet wide. It hung in a space really too small for it, and viewers would have to almost walk into it. The textures that softened from distance were extreme from close up. The curved, over-lapping panels; the intense color (yellow); the wonderful mix of yarns that each contributed a different texture and luster – all worked together in a beautiful, compelling way. I was intrigued technically and satisfied aesthetically. This tapestry was both a two-dimensional surface and a three-dimensional object. This contradiction really attracted me. – TT p.6-7

Every once in a while we are fortunate enough to see something that will stick with us for a lifetime, something that will help us ask questions about our own work, a visual standard that we can use to help us evaluate future work. Yellow Braid is my standard. – TT p.7

Mieko Konaka

Oita-Ken, Japan

– TT p.7

During 1991-2, Pam Patrie and her studio wove a series of tapestries based on artist Astrid Preston's original oil paintings. [I worked on] one of these, “Daylight,” with Pam during the production. . . . The shading of topiaries and bushes in Astrid's pointillist painting was created with countless small circular patches in gradations of yellow and green, which Pam used to convey daylight. Such weaving . . . required careful selection of colors, mixing them from one bobbin to another. – TT p.7

right, Pam Patrie (after Astrid Preston), Daylight, 1991-2
Daylight can be seen in
Shuttle Spindle & Dyepot, (summer, 1993)
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