Do Ho Suh

Do Ho Suh was born in Seoul, Korea in 1962. Interested in the malleability of space in both its physical and metaphorical manifestations, Do Ho Suh constructs site-specific installations that question the boundaries of identity.  His work explores the relation between individuality, collectivity, and anonymity.

http://www.lehmannmaupin.com

This silk homes bring to mind the spider webb. Silk in this instance and so elaborated as to make the times of walls, windows and homely details almos falling to the ground as for its delicate materiality. The translucency as a homely quality challenges our notions of the form, that of housing, or stairs and floors. What holds us together seems as fragile as it really is yet by holding us long enough we like to think of them as everlasting. The fabrics made out of threads convey the individual and the collective, his shift and play with the one and many is constant through out his work. Yet if you pull one the whole thing may fall apart. 

The man made of many strings and many suits; as one arrives to this moment having worn many suits we are made of many us and we are held together by those memories and lived experiences, the people that have gone by are also here and we all hold a string tied to those gone. 

Really beautiful work.

Drawing and stitching. The Idea of the North at 210 Gallery an artist run gallery in Brooklyn NY

The idea of the north works by Cyrilla Montzer and her statement about her work.
Pencil on industrial wool felt hand sewn with silk thread.

Work with Felt 2006-'08

Would I had seen a white bear! (for how can I imagine it?)

I have been pondering this absurd statement from Gertrude Stein’s The Life and Opinions
of Tristram Shandy. In confronting the ridiculous, I am motivated to make work.

It is also true that a small wooden polar bear has found its way to my worktable in the last
year. It had belonged to my Aunt Fritzi, who got it in Alaska. Polar bears are solitary
creatures. They traverse continents, working their way to becoming extinct.

The first three-dimensional body of work I made with cream-colored industrial wool felt
was titled Polar Bear Glove Song. The felt is close to the color of polar bear fur and
reminds me of snow, a bear’s natural habitat. Both insulate and make quiet.

Like Polar Bear Glove Song and the freestanding More saints seen, the new felt pieces in

the warm snow series are stitched together by hand with lustrous pale grey silk thread.
And like the earlier work, the new three-dimensional pieces are self-supporting; there are
no armatures or additional supporting materials. The new pieces, however, are larger,
increasingly rectilinear, and closer to the ground. As a group they form a 'settlement' of
building blocks, each a necessary aspect of a collective whole. The new series has also
begun to include flag and banner-like wall pieces in which shapes are cut out and then
inlaid (and stitched) into position not unlike marquetry. They are a means to mark the
territory.

Felt is a non-woven textile made from the compression of a tangle of animal fur and
behaves in unpredictable ways. To sew it into geometric forms or to stitch shapes within
eachother is to go against its natural inclination to buckle, stretch, droop, and torque
(which brings in an element of chance). I am attempting to push felt to do what it doesn’t
want to do while maintaining its integrity as a material.


www.cyrillamozenter.com

15 Natural Fibers - Inernational Year of Natural Fibers - Onu

Natural fibres are greatly elongated substances produced by plants and animals that can be spun into filaments, thread or rope. Woven, knitted, matted or bonded, they form fabrics that are essential to society.

Like agriculture, textiles have been a fundamental part of human life since the dawn of civilization. Fragments of cotton articles dated from 5000 BC have been excavated in Mexico and Pakistan. According to Chinese tradition, the history of silk begins in the 27th century BC. The oldest wool textile, found in Denmark, dates from 1500 BC, and the oldest wool carpet, from Siberia, from 500 BC. Fibres such as jute and coir have been cultivated since antiquity.

While the methods used to make fabrics have changed greatly since then, their functions have changed very little: today, most natural fibres are still used to make clothing and containers and to insulate, soften and decorate our living spaces. Increasingly, however, traditional textiles are being used for industrial purposes as well as in components of composite materials, in medical implants, and geo- and agro-textiles.

In this section we present profiles of 15 of the world's major plant and animal fibres. They range from cotton, which dominates world fibre production, to other, specialty fibres such as cashmere which, though produced in far smaller quantities, have particular properties that place them in the luxury textiles market.

Plant fibres Plant fibres include seed hairs, such as cotton; stem (or bast) fibres, such as flax and hemp; leaf fibres, such as sisal; and husk fibres, such as coconut.

Animal fibres Animal fibres include wool, hair and secretions, such as silk.

Abaca - Once a favoured source of rope, abaca shows promise as an energy-saving replacement for glass fibres in automobiles Coir - A coarse, short fibre extracted from the outer shell of coconuts, coir is found in ropes, mattresses, brushes, geotextiles and automobile seats Cotton - Pure cellulose, cotton is the world's most widely used natural fibre and still the undisputed "king" of the global textiles industry Flax - One of nature's strongest vegetable fibres, flax was also one of the first to be harvested, spun and woven into textiles Hemp - Recent advances in the "cottonization" of hemp fibre could open the door to the high quality clothing market Jute - The strong threads made from jute fibre are used worldwide in sackcloth - and help sustain the livelihoods of millions of small farmers Ramie - Ramie fibre is white, with a silky lustre, and is one of the strongest natural fibres, similar to flax in absorbency and density Sisal - Too coarse for clothing and upholstery, sisal is replacing asbestos and fibreglass in many composite materials

Alpaca wool - Alpaca is used to make high-end luxury fabrics, with world production estimated at around 5 000 tonnes a year Angora wool - The silky white wool of the Angora rabbit is very fine and soft, and used in high quality knitwear Camel hair - The best fibre is found on the two-humped Bactrian camels of Inner Mongolia and Mongolia, and baby camel hair is the finest and softest Cashmere - Cashmere is exceptionally soft to the touch owing to the structure of its fibres and has great insulation properties without being bulky Mohair - White, very fine and silky, mohair is noted for its softness, brightness and receptiveness to rich dyes Silk - Developed in ancient China, where its use was reserved for royalty, silk remains the "queen of fabrics" Wool - Limited supply and exceptional characteristics have made wool the world's premier textile fibre

When is a fibre "natural"?

The International Year of Natural Fibres celebrates fibres produced by plants and animals. It does not include modern man-made artificial and synthetic fibres such as rayon, nylon, acrylic and polyester. Tree fibres are not covered by the International Year, but will be one focus of the International Year of Forests in 2011.

http://www.naturalfibres2009.org/en/fibres/index.html