Artist, Designer, Traveler, Writer, Photographer

THE THREADS PROJECT 2001-2007

This post was published here on November 4, 2009 in a slightly-edited form. The original version was published at the invitation of June Underwood, moderator of the blog serving art and textiles, The Ragged Cloth Cafe. You may read the longer version at http://raggedclothcafe.com/2009/11/04/what-the-surface-reveals-the-threads-project-2001-2007-by-nancy-engstad/ .

WHAT THE SURFACE REVEALS

The final version, the fourth, of my book What The Surface Reveals-The ThreadsProject 2001-2007, has arrived from Blurb. I had thought that this would create a proper “book-end” to the ideas and concepts that filled those six years. It was also time, I decided, to start my long-overdue blog and website. In searching for good examples of other artists’ sites I came across Ragged Cloth Cafe , a site devoted to art and textiles. And here I found artists interested in the subject of my project. I responded to an earlier post regarding the old subject of “Art vs. craft, once again” by Angela Moll, posted on March 7, 2008. Sometime later, to my surprise, I received an email from June Underwood, editor at The Ragged Cloth, inviting me to expand my comments into a rather long article, with images and notes from The Threads Project. This was published a few days ago and has prompted some interesting comments. Completing the book has not, however, closed the door on The  Threads Project; instead, some of those comments have prompted further thinking about the ideas that prompted my work in the first place.

Here is a slightly-edited version of the article, as it appears on the Ragged Cloth Cafe blog:

-Three In Red-Best, croppedsharpgray

THREE IN RED  Triptychs  2003
Pastel on wrinkled paper, thread on tulle, thread on cotton
Each approximately 17 x 17 inches
“I have just found the Ragged Cloth Cafe blog and it is an extremely timely discovery. As I write, my book What The Surface Reveasls-The Threads Project 2001-2007 is being printed by the on-demand company Blurb.
In this book I document my work of over six years in which I attempted to answer the questions put forth on Ragged Cloth  concerning the issues of fine art and craft.
I was prompted to write when I read from the archives the article and comments on Angela Moll’s “Craft vs. Art, One More Time,” published March 7, 2008. It is clear that the subject is still, as I commented in the book, of great interest and remains open to further discussion. In particular, the response to the article by Lisa Call refers to the primary question I sought to answer with The Threads Project, “How do process and material affect meaning?” and by extension, “How is value then perceived based on these?”

In 2001 I began an extensive body of work which came to be known as The Threads Project. This body of work is an attempt to find a resolution to a personal issue that I felt hampered my creative work, and which may speak for other artists as well. The issue was the result of my own quandary and stalemate: on one hand my fine art seemed acceptable while on the other, my interests and experience with surface design and textiles, referred to as “craft”, seemed less so.

There seemed to be a division based on distinctions and judgments of assigned value, of gender issues relating to techniques and materials, of historical context, and perception and definitions of art.
Although over the years I had intellectually resolved the art vs. craft question as much as anyone, by the time I began thinking about this again in 2001, the reality of this issue still seemed less than equitable. During the initial period of inquiry I determined I needed to find a way to blur the distinctions that still divided fine art and craft. I needed to find a bridge between the two. I did of course find that bridge and the means and methods with which to use it. The sources for this journey extend back to my earliest interests in art where one was as likely to find me with paper and pencil as with needle and thread.

Drawing has been the lifelong focus of my work, and over the years I have created both figurative and non-representational work. At the same time I have always had an affinity not only for the surface often used in drawing-paper-but for the equally tactile surface of cloth.

CROSSES

CROSSES, 2003
Color pencil, thread, pastel, paper on black paper with hand-sewing
26.75 x 19.5 inches
I began using fabric in my work in the 1970’s, making sculptures and wall pieces. During this time artists were encouraged to break down old concepts of art, process, and techniques formerly defined as “craft” and narrowly assigned as “fiber art“.

VA. DR. BOX (BEST)

VIRGINIA DREAM BOX  c1980
Velour, cotton, batting, thread, marker
8 x 10.5 x 2 inches
In 1989 I began a serious exploration of surface design on fabric, including ancient dyeing methods such as shibori as well as painting and printing. After years of enjoying the creative results of working with fabric as a textile artist, (while continuing my fine art practice) I realized that I thought of my textile work as separate, eventually leading me to question the long-standing issue of art vs. craft on a very personal level. I needed to find a way to blur the perceived divisions between the two in my own work.

Early on several events provided clues that would guide my investigation. I attended an exhibition of  paintings by the Irish-born American artist  Sean Scully which feature geometric bars and patterns that immediately called to mind quilt patterns. (This was before the exhibition of the Gee\’s Bend Quilts in which the value of quilts as legitimate art made such an important statement.) At the Scully exhibition my first thought was “If a similarly-sized and patterned quilt were to be hung next to this painting, created by an unknown maker, “Anonymous” perhaps, what value would be placed on each?”
This led me to think that if two pieces were hung side by side in a gallery or museum, one of traditional method and material, for example, oil on canvas, and one a textile piece, each with similar size, shape, related perhaps in color and composition, then it would not be possible on immediate viewing to place a value based on the materials or processes used.
A short time later I came across a gallery announcement for an exhibition which paired 20th Century color field paintings with ancient dyed textiles. These events provided important formats for the bridge between fine art and craft- pairs and analogous images.

Although I never envisioned that this project would endure for over six years, I did have an idea from the beginning that it would be one based on a formal and detailed plan so that there would be a cohesiveness in the work. I began with two lists. In one, terms relating to traditional methods of making art such as drawing, painting, sculpture, printmaking, collage and in the other, terms pertaining to textiles such as sewing, applique, quilting, thread. Using the terms from the two lists then, I began to make works which combined fine art elements with those referring to textiles. This proved to be a fertile method for blurring the distinctions of art and craft. Over the years of the project of course, many new directions developed. I will share some of the events and discoveries that were part of this six-year journey.

In the summer of 2001 I attended my second etching workshop at Crown Point Press in San Francisco. During the workshop I was struck, in particular, by the surface quality of aquatints. These bore a resemblance to some of my hand-dyed cloth. I decided to create an etching echoing the appearance and size of the cloth and to pair them side-by-side on a single sheet using the method of chine colle\’.

DC_Rust_I - Copy

RUST 1   2001
Hand-dyed cotton, spit-bite aquatint etching, chine colle’
Each: 4.5 x 3.5 inches
Another idea, using thread as both medium and subject led the work in an interesting direction. I unspooled tightly-wound loops of thread onto large sheets of watercolor paper, sewing and gluing them to the surface, resulting in a raised thread drawing. This took the idea of a thread drawing from two dimensions to three as the loops rose above the surface of the paper. Works such as Dusk (below) were then also  analogous in imagery to thread-like drawings on paper with color pencil as seen below in Threads: Visual Energy.

DUSK-N-nogreenCrop_7085adj copy copy copy

DUSK  2001
Thread, glued to watercolor paper
30 x 22 inches

THREADS-VISUAL ENERGY

THREADS:VISUAL ENERGY 2001
Color pencil on black paper
27.5 x 19.5 inches

Expanding on the idea of thread drawing I used rectangles of white sateen as though approaching a sheet of drawing paper. (I did not want this to reference embroidery.) The black stitches on white cotton are marks or thread drawing, while the in-and-out pull of the stitches created a textured surface. Small rectangles of black and white cloth are the analogous collage element on the piece below, from a suite of four QUILTED THREAD DRAWINGS.

66480009 copy

QUILTED THREAD DRAWING III  2002
Black cotton, cotton, thread on cotton sateen
12.5 x 17.75 inches
A spontaneous triangular stitch used initially on a textile piece became a significant motif. I used this stitch-mark as a linear drawing technique in drawings, paintings, and frottage pieces, as well as, of course, in textile pieces.

SEEING RED copy

SEEING RED  2003
Thread, color pencil, Okawara paper
Approximate dimensions: 12 x 17 inches
The combining of elements on the initial two lists developed much farther than I ever anticipated. Overall, during these six or so years, the work created in The Threads Project not only explored the issue of fine art vs. craft, in this case cloth and paper, textiles and drawing, but went on to challenge my definitions of drawing, my primary means of expression. It opened my eyes to digital drawing and to a deeper investigation into painting, mixed-media work, printmaking, artists’ books and sculpture. The issue of fine art vs. craft was the beginning, but in the end became the means.

I consider myself an artist. I make quilts occasionally but do not consider myself a quilt artist or a fiber artist. I use cloth and textiles to create as I would use paper, paint, and canvas. As an artist who was present and participated in the early discussion of art vs. craft, I am gratified to see the changes that continue to blur the divisions between them. As I state in my book, I hope that my efforts in The Threads Project add to the discourse and perhaps create a unique body of work reflecting the changes being made.

In the context of our time it is clear that the art world is arriving at the same conclusions as art and craft find common ground. Definitions such as art, craft, and design are increasingly fluid. An example of this changing outlook is the renaming of  The American Craft Museum in New York to The Museum of Art and Design. Their mission statement speaks for the wonderful potential today for creativity in all its aspects:

“Today, the Museum celebrates materials and processes that are embraced by practitioners in the fields of craft, art and design, as well as architecture, fashion, interior design, technology, performing arts, and art and design-driven industries. The institution’s new name, adopted in 2002, reflects this wider spectrum of interest, as well as the increasingly interdisciplinary nature of the Museum’s permanent collection and exhibition programming.”

While my work with The Threads Project seems finished, its impact continues in other work. I have continued painting using the thread-stitch triangular motif in a series of paintings, three of which were juried into “Paint”, a national exhibition at the South Shore Art Center in Cohasset, Massachusetts in 2007. Currently a series of BLACK DRAWINGS which descend from a major textile piece in The Threads Project, “River, Stones“, can be seen on the website  for The Drawing Center\’s Viewing Program in New York.

Following the publication of What The Surface Reveals, I plan to document the drawings and paintings which continue the motif of the stitch-mark begun in The Threads Project. This will be titled Webs and Threads and will give a wider view of works which were too large in number to include in the first book.
Works from The Threads Project have been exhibited in solo exhibitions in the United States and group invitational and juried exhibitions in the United States and Africa.
WHAT THE SURFACE REVEALS-THE THREADS PROJECT 2001-2007 is available at the Blurb.com Bookstore.

A biographical note:
Nancy Engstad lives and works in San Francisco. Her work includes drawing and works on paper, painting, sculpture, artists’ books as well as textile design and jewelry. Since 2005 digital photography has become an important medium as well.
Her work has been exhibited and collected in the United States, Japan, Europe, and Africa. More photos of her work can be found on flickr.”

3 responses

  1. Deborah Ruth

    Nancy ~ The more glimpses I get of your work, the more agog I get! You have a wonderful eye for color, design, pattern, material — the works — and a truly unique and creative way of putting all those elements together into what I dare ANYBODY to “dismiss” as “merely craft” when it is, obviously and irrefutably, art. How can I get a copy of your book?

    December 2, 2009 at 9:29 am

  2. khushbu mittal

    its just wonderful,i also want to know how this techinque work so its my pleasure it u teach me

    January 25, 2011 at 4:44 am

    • Dear Khushbu,
      I will be writing more on The Threads Project in the future. I hope you will continue to read the blog and find it of interest. Are you also an artist, and if so, what is your practice? I am interested to hear of other work being done globally as well as in America that relates to my work. Please tell me more about what ideas in The Threads Project were most informative or useful for you.
      Best Regards,

      Nancy

      January 25, 2011 at 12:16 pm

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