Dave Johnson’s talents as a textile artist have found expression in tapestries, mixed media and jewelry...
As both a musician and a visual artist, Dave’s two creative paths often cross. For example, tapestries such as “Music Rug” and “Sea Chanty” are based on drawings that were themselves responses to specific musical compositions.
Lleft: David Johnson, "Music Rug", 32” x 48”, 1985;
cotton warp, wool weft
below: David Johnson, "Sea Chanty”, 53.5” x 37.5”, 1988;
cotton warp, wool weft
Other tapestry series reflect Dave’s interest in how the history of a people becomes embedded in both manmade dwellings and in the land itself… "The past is little more than a collection of artifacts and vague memories. Much of my work is about that inability to fully remember people, places, and events. The frequent use of waxed linen strands knotted into my work is symbolic of that inability and symbolizes the sense of mystery I feel about the past.”
Below: David Johnson, " Local history No. 2”, 6” x 10", 2004;
digitally altered original photographs on inkjet printed canvas,
bead embroidery, coco heishi beads, seed beads, waxed linen painted industrial felt
Dave’s recent tapestries include off-loom manipulation and embellishment through stitching and the application of pigment, beads and thread. Some of the work is sculptural. Pieces like “Edge No.2” and “Edge No. 4” reflect his interest in moving away from drawn or painted maquettes. He is, instead, developing the visual aspect of his work through a more direct response to materials and process.
below: David Johnson, "Edge No. 2", 10” x 6” x 2.5”, 2006;
cotton warp, wool weft, handmade inkjet printed paper beads,
seed beads, waxed linen, painted bamboo, painted industrial felt
below: David Johnson, "Edge No. 4”, 14.75” x 12” x 2.5”, 2006;
cotton warp, wool weft, wooden beads, seed beads, waxed linen, painted bamboo, painted industrial felt
Volunteers Make It Happen: Pricilla Lynch
By Lynn Mayne
ATA members know Priscilla Lynch from her tapestries in ATB exhibitions as well as for her leadership in producing the small format "Grand Ideas" show in 2006 and for creating the Distance Learning Program as ATA education chairman.
Priscilla bought her first loom in 1970. It was a LeClerc four harness table loom which she assembled by looking at pictures since the instructions were in French! She taught herself to weave using books from the library and then took workshops offered by local weaving guilds and her state organization, the Michigan League of Handweavers...
To say that she pursues her interests with determination is an understatement. In her weaving career she wore out both her rotator cuffs by throwing the shuttle for the fabric she constructed into original apparel. In her words, “Textile design involving the intricacies of cloth structure, texture, materials, and color fascinated me.”
She switched to tapestry weaving in 1998 to give her shoulders a rest. Practicing exercises in weaving books and taking workshops perfected her techniques. The years of continual tapestry weaving have now taken their toll on her wrists and hand joints, and it is painful for her to manipulate the bobbins. She is currently searching for options to continue her explorations in the fiber field. She says “life continues to be an ongoing journey of discovery and I am thankful for the opportunities to work with so many talented people.” She has been generous in sharing her talents with so many of us in ATA.
Lleft: Priscilla Lynch, "The Courtesan", 2004
(photo manipulated by LER)
below: Priscilla Lynch, "Wise and Foolish Virgins",
30" x 32", ATB3 2000
below: Priscilla Lynch, "Proof of Identity", 25" x 25"
below: Priscilla Lynch, "Sources of Identity", 25" X 25"
below:Priscilla Lynch, "It Takes a Village”, "21" x 35"