Haystack Veil représente un paysage de coupures d’arbrisseaux, trente mille branches coupées et reliées dans une voile flottant sur la mousse et le lichen qui couvrent une pente le long de l’océan Atlantique. Haystack Veil suit la topographie primordiale et vient agir comme mante pour la terre.
Haystack Veil is a landscape of cut saplings, thirty thousand twigs cut and bundled into a knit veil floating over a moss and lichen covered cliff alongside the Atlantic Ocean. Haystack Veil bears on the land following primordial topography, a cloak over the earth.
Then Jacob rent his cloths . . .liminal membranes. Philip Beesley
emotion, with poignant implications in the way textile flexes and moves with us. When we grieve, we grasp and caress and tear cloth… The blurred psychic boundaries between our bodies and other ‘transitional objects’, for example between infants and their toys and blankets, their ‘lovies’ 1 explains that when we read in Genesis that “Jacob rent his cloths”, we may understand that Jacob’s clothes were part of his anatomy, and that he was in effect tearing himself apart. 2 Textiles have always acted as second skins. Similarly building envelopes can be tuned precisely to work as layers of our collective bodies. This expanded definition of the hand of textiles relates to the projects here in several ways: flexible draping finds a subtle skin for the land; a porous, ephemeral space opens boundaries; an intimate prosthetic relationship between living functions and fabric — here the hand is active, flexing and recoiling. The projects here can be understood as an extension of the ordinary
I have been making a particular kind of architectural textile for several years.The fabrics described here have immersive and reflexive qualities. Reflex is a response that suggests the textile being touched touches back. Immersion goes beyond the familiar sense of being clothed and surrounded by a fabric. Here the term implies animated space expanding and dissolving boundaries. In these fabrics boundaries of our selves — body and psyche — are questioned. The hand of a fabric (the particular interaction of nap, bias and weave that combines to give every fabric a specific quality of movement and interaction when it is handled) is often referred to in descriptive reviews of textile art. We know that handling textile has a particular link to human
Membranes liminales L es tissus décrits ici ont des qualités immersives et réflex - ives. Le réflexe est une réaction qui propose que le textile que l’on touche nous touche aussi. L’immersion va bien au-delà du sens familier que l’on accorde à ce mot, notamment celui d’être vêtu et entouré d’un tissu. Dans
le manipule) est utilisée dans le cadre d’examens descriptifs de l’art du textile. Nous savons que le fait de manipuler des textiles a un lien particulier à l’émotion humaine, avec les implications vives liées à la façon dont le tex- tile se plie et se déplace avec nous. Les textiles ont toujours
agi comme une deuxième peau. De même, les enveloppes immo- bilières peuvent être syntonisées précisément pour agir comme couches à nos corps collectifs.
le présent cas, le terme implique l’expansion et la dissolution des limites de l’espace animé. La main d’un tissu (l’interaction particulière entre la couche pelucheuse, le biais et le tissage qui, combinés, donnent une qualité précise de mouvement et d’interaction à un tissu lorsqu’on
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O n S ite review
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I ssue 8 2002
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