Oregon’s Creative Impact
“13 ideas that are changing lives”
By Lee Lewis Husk
- Producer Mike Midlo
by Priscilla Frank
by Mallika Rao
It’s unlikely anyone would line up to watch a crochet artist at work. But this 30 second stop motion film by artist Jo Hamilton turns the quiet craft she learned from her grandmother into something thrilling. Hamilton — who is known for her blanket-sized portraits of famous people and friends — filmed more than 300 photos for the video, each taken after the addition of a new yarn color to her portrait of her late friend Arthur Cheesman. Her habit of working from the eyes out here creates the sensation of a fully formed man slowly revealing himself, which is as eerie as it sounds. Don’t expect to find half-done Arthur hanging on your grandma’s wall any time soon.
Artist Jo Hamilton says: ‘I made this stop motion video to document my process of crocheting one of my larger than life...’
Part & Parcel will take place from March 25-April 26, 2012 at Arts Guild New Jersey, with an opening reception on Sunday, March 25, 1-4pm.
The works in this group exhibition are united in their use of bodily fragmentation to investigate the role of women in modern society. Fragmentation is a versatile tool in visual art, as it allows us to simultaneously see the human body in a more focused manner, and to step back from it and view the body as an abstract form – it can lead to reactions ranging from analytical to emotional. While interpretations are individual to both artist and viewer, Part & Parcel undoubtedly inspires us to think about the body in novel ways.
The exhibition is curated by Bonnie Gloris and features an impressive roster of artists including Fanny Allié, Tom Bartel, Laara Cassells, Niina Cochran, Bill Durgin, Irene Gennaro, Jo Hamilton, Frances Heinrich, Gina Lucia, Vincent Minervini, Judy Moonelis, Lindsey Muscato, Deborah Pohl, Carol Schwartz, Etta Winigrad, and Jane Zweibel.
Cafe Grumpy Greenpoint
193 Meserole Avenue
(at Diamond St)
Brooklyn, NY 11222
Cafe Grumpy Chelsea
224 West 20th St
(between 7th and 8th Ave)
New York, NY 11011
(Subway 18th St)
Mixed yarn 22″x27″ 2008
Amongst her many artistic talents, Jo Hamilton, the Portland-based artist, creates arresting figurative images of people and her environment using the unexpectedly domestic medium of crochet. Her formative training at the Glasgow School of Art was in painting and drawing but, by her own admission, she was never entirely comfortable with the traditional approach.
Following her move to Oregon in the 1990′s, she began to explore different means of expressing herself through a skill she has long forgotten but was keen to reacquaint herself with. ‘I first learned to crochet when I was six and my Gran taught me how to make a granny square. Ten years later a friend re-taught me, and I crocheted in a crafty way for years.’
She was first inspired to use crochet as a means of depicting her surroundings after seeing an exhibition at the original Portland Craft Museum. ‘I think (the exhibition) was called “Not Your Grandmother’s Doily” and featured art made using techniques that are traditionally considered to be craft.’ Excited that she had at last found a means of expression that allowed her to work in a way that she was comfortable with but at the same time was artistically expressive, she settled down that very day and began to crochet the first six city blocks of what would become the “I Crochet Portland” cityscape!
This gave her the confidence to broaden her remit to depicting her fellow coworkers using the same techniques. Despite their good-natured taunting, she started from photographs of the sitter which she then worked up in crochet.
Work can take anything up to three years, as in the case of the cityscapes but her enthusiasm for the medium never wanes. “Crochet is currently my preferred process, although I do look forward to seeing how it has informed my approach to other media.’ By using a craft that is more often than not pigeon-holed into rather a narrow category, she hopes to create a more appreciative audience that will see its artistic potential. As with Tracy Emin and her series of quilts, something that we traditionally see as a purely domestic activity becomes a far more challenging and thought-provoking process.
Her method of working is more like a painter with their box of paints than a person taking out their crochet for a few hours of relaxation.
‘My house is filled with balls of yarn, all arranged by colour on shelves. I can pull them out as I need them for my palate. A portrait can take up to fifty or more hours over the course of a month, but I haven’t actually counted, and I spend just as much time looking as actually crocheting. The pieces evolve from the inside out. I make no graphs, plans or charts; it’s a row-by-row organic process in which I don’t always know the outcome, but have learned to trust my way of working.’ Many people have speculated on how Jo achieves her portraits and what stitches or techniques she might use, so they will be fascinated to read of how she has to put herself in the hands of her inspiration and wait to see what is produced.
Obviously, she is confident to do this and is quite happy to go with the flow. ‘I’m working on a new body of work for my next show Bodies Are Bridges. It’s quite a departure from previous pieces, so I have a lot of work to do in order to pull it off. I will always continue to crochet, but I’d also like to return to drawing and painting and see how the crochet has informed my approach to those disciplines. I want to push the boundaries of craft and art, just to see what’s possible.’
For many crocheters, such an approach is completely new and alien but gives an example of how craft can jump the barrier between itself and art and give an artist new and exciting means of expressing themselves. It may not be something that everyone feels confident to do but Jo gives some advice which we could all follow, ‘Ditch your pattern books!’ So maybe next time you reach for the tried-and-tested cushion or blanket pattern, heed Jo’s words and with the skills literally at our finger tips venture into a new and exciting world of expression through craft.
Bee is a freelance writer in England and has a crochet blog: chaincreative.blogspot.com
Opening May 1st at Nemo in Portland, Oregon, BENEATH THE SURFACE: Flora, Fantasy & Fable in Surface Design highlights the work of influential, contemporary surface designers through the mediums of wallpaper, prints, and 3-dimensional objects. The exhibit is curated by us and includes some of our favorite designers from around the globe. Focusing on escapist and fantastical themes, the exhibit features utopian landscapes, folkloric fables, and interpretations of magical inner journeys.
Anna Giertz | Chelsea Heffner | Dan Funderburgh | Deanne Cheuk
Eno Henze | George Moskal | Joanna Bean | Jo Hamilton
Katrin Wiens | Kinpro | Kustaa Saksi | Laundry Studio
Linn Olofsdotter | Marc Curtis | Michael Leon | Mike Perry
Nama Rococo | Osmose | Pattern People | Timorous Beasties