My artwork is an exploration of connecting all the things that I love – interior design, skateboard culture, shapes and patterns, and color relationships.
Habitat Aztec Deck
My skateboard designs are heavily influenced by textiles and patterns from around the world.
Each day, I find new color stories to incorporate into my art. With each collection of skateboards I create, I aim to further connect the skate and art communities.
My sculptures are another way for me to study color and form. Each piece explores a new color arrangement. Seeing how one color relates, changes, dims, or glows next to another color is endlessly eye opening. My sculptures are meant to be a positive visual stimulation for the viewer.
Erna van Sambeek
A scale model of a National Park made out of sheep wool. 2015 – Size 3,65 m x 2,25 m, representing National Park Dwingelderveld in Drenthe, the Netherlands.
Together with 17 local people Erna made this scale model with wool from the herd Drenths heather sheep that graze the heather in that National Park.
The wool was spun, dyed and knitted to make the forest; the heather was made by dyed and felted loose wool. Landmarks were carved out of local wood, the pastures suggested by colored wool punched into the felted underground. In the spring the work will get it’s permanent place in the Visitors Centre Dwingelderveld, Ruinen, the Netherlands.
Textile, as a material or concept, plays a major role in her work. A pillow made of barbed wire, a flowering tulip tapestry based on a Turkish carpet, a scale model of a National Park made out of sheep wool. Two or three dimensional, big or small, made by myself or together with others, there is always an idea behind my work.
A work must be ’round’: the idea and material are mutually dependent on each other. Together they determine the contents of the work.
Spain / USA
Artists Vanessa Kamps current practice and research interests are guided by gesture studies, mime and movement, linguistics, and artisan craft work. Of special interest is the idea of a syntax of movement, a way of looking at the underlying structures and hierarchies of movement, and, in her mind, the intentionality of action be it conscious or not, emotional, biological, or otherwise. Vanessa has been thinking about the shape of action and what patterns, interior or exterior, are continuously produced along with their subsequent texts.
Heidi Abraham is an interdisciplinary artist, her practice concerns itself with cross-cultural positioning and therefor cross-cultural representation in both written text and visual art, central to both her research and studio practice is the notion of text: in terms of cultural language, subjective voice and of its physical manifestation in visual art. Her most recent works include the act of transcribing. Abraham employs materials such as type- writer ribbon and vinyl to transform transcribed text from radio interviews, email, film dialogue and an array of other sources. The text is then installed, with the intention that the words and their meaning become embedded in the space.
Heidi Abraham was born in Sydney, Australia. She graduated with Honours Class 1 from Sydney College of the Arts in 2009. Her practice is predominantly text-based and includes sculpture, video, and installation. Recent solo exhibitions include there is no god but god, Contemporary Art Centre of South Australia, 2011. Recent group exhibitions include Art is an Irritant, Verge Gallery Sydney, 2011, A Transposition of Space, Concord Art Space Los Angeles, 2013, 2cubed, St Jerome’s Laneway Festival Sydney, 2014, and Notes Toward a Future Feminist Archive, Affiliated Text Sydney, 2015
In the 80s Keryn studied Textile Design at the North Adelaide School of Art and participated in textile workshops from New York to Rajasthan as well as numerous Australian workshops including working with Indigenous Australian batik artists in the arid lands of northern South Australia. Along the way she also studied archaeology at university and enjoy nothing more than reading and researching the origins of textile designs and processes of various cultures.
As an artist, James is particularly interested in developing contemporary textile designs with an archaeological focus using symbols, dyes and techniques rooted in history and recently has been experimenting with local plants and dye stuffs, found materials, textures, threads and stitching as well as photography and digital printing. She has a small handmade and tribal textile gallery/studio in Adelaide where she showcases textiles she collects on her travels and also works and sells her own designs.
AiR Textile is an artist residency program designed to connect contemporary practitioners with Moroccan textile crafts to feed a creative practice and encourage cross-cultural dialogue.
1 st January – 2 February 2016.