By Josh Hughes
The current exhibition at Western’s Gallery, Coded Threads: Textiles & Technology, examines a contemporary definition of the term textile by interweaving (no pun intended) traditional loomwork with ever progressing technologies such as nanotechnology, conductive threads and incorporation of processors. Curated by Western’s own Seiko Purdue and featuring 14 contemporary artists ranging from fashion designers to mathematically influenced veteran artists, the exhibit will run through Dec. 8.
Text/Textile, Web/Website, Net/Network. These are the dualities that the show relies on exploring and uncovering in its examination of the contemporary textile. While the globalized planet relies more and more on digital technologies and the advent of the internet, certain jobs still must be done by hand and there remains a cross-cultural emphasis on the warmth of touch.
For example, Lisa Cook’s hanging tapestries that confront the viewer upon entering the gallery take on the stillness of pixelated photography and the singularity of human touch to instill awe at the power of handweaving. Her imagery addresses the fabric of memory, and her use of traditional textiles instills the gallery’s pervading idea that technology doesn’t have to be old or new to provoke new ideas in relation to technology.
“The sense of touch is still very important to connect human relationships, not only because some details and subtle works have to be done by hand, but also because poking a finger with a needle by mistake while stitching is such a memorable experience,” said Seiko Purdue, talking about the influence that human craft still has despite the increasing digitization of the post-internet world. “The product of human hands are unique and irreplaceable by any machine,” she continued.
Yet, Coded Threads largely addresses the intersections between textiles and technology as a symbiotic and healthy relationship. While cynicism is abound, many of the artworks find a mutualism between the handcrafted and the automated– they operate in spaces where both can exist without clashing.
“Fundamentally, these artists are at the forefront of cross-disciplinary socio-eco-practices that are set to change the ways in which we interact with every aspect of our everyday world,” said Art History professor Barbara Miller, speaking of the interconnections that many of the artists address in their work.
Patti Barker’s “Nuno Felting”, a garment made from a process in which the fibers in sheep’s wool attach to each other under wet, soapy conditions, showcases both a thoughtful examination of organic, freeform patterns and a new possibility to make up-cycling clothes cheaply. Also touching on Miller’s idea, Maggie Orth’s stunning “100 Electronic Art Years” and “Last Moment in the Pursuit of Happiness” combine electrodes woven with conductive yarn, thermochromatic ink, custom drive electronics and software– and this is all before addressing what her work is ultimately about.
Orth’s two artworks seem to function as the centerpieces of the gallery, encompassing many different ideas that are explored throughout other artists in the exhibit. The large, glowing tapestries invite the viewer to press a button when it’s completely glowing, starting a process of slow color changing that eventually ‘fails’ as the piece continues performing its function. At some point the color changing ink on the textile stops reverting back to its dark, dormant state, and the vibrant colors permanently remain embedded in the work. The inherent focus is on materiality, something Orth has often talked about in her work before.
“The electrical materials in these works… bring a burst of life, energy and motion to what is normally still, and symbolize the finite nature of life and movement within immeasurable time and stillness,” said Orth in her artist statement, addressing a harmony between textile and technology that permeates the exhibition.
Other artists in the exhibit include Lia Cook, Linda Hutchins, Robin Kang, Sheila Klein, Barbara Layne and Lauren Osmond, Devorah Sperber, Reiko Sudo, Laura Thapthimkuna, Suzi Webster, Carol D. Westfall, Anne Wilson and Margo Wolowiec.
In addition to the show itself, Coded Threads will host a series of workshops and lectures throughout the course of the exhibit. On Oct. 18, there will be an Industrial Design program presentation, on Oct. 23 artist Anne Wilson will be giving a Skype interview and on Nov. 2 there will be a talk on sustainable textiles and technology. The full list of events can be found on the gallery’s website at https://westerngallery.wwu.edu/coded-threads-textile-and-technology.
“Our latest innovations are connected to, and grow out of, our oldest crafts,” said Purdue, reiterating the inherent connections between textile and technology that penetrate the exhibition. Coded Threads runs through Dec. 8 in the Western Gallery.