new work, distorted basket weave scarves in tencel to be dyed
like a line drawing
Kaly Barrett was forward directly from Amber Hakim, I traveled to North Hampton MA to visit with her and talk with her about her work. Kaly has an amazing space at the Arts and Industry Building in North Hampton! We started by talking about her loom, and harnesses, threads, sequences, plain weaving and a lot of weaving lingo that was brand new to me! Kaly’s work plays between fabric that is very light, but her conceptual platform deals with much heavier undertones and themes. Such as matches that could potentially burn each piece.SWThere’s something about seeing this loom and sitting next to it that makes me feel like this is not something you just do. There seems to be a lot of planning, that you have to take your time with, due to it’s machine like qualities.KBI agree in a way, there’s something about a loom that when you sit down, you’re right, it’s time to work. and when you get into it, it becomes this repetitive action.SWIs that was drew you to weaving?KBThere’s something really alluring about the loom and weaving that is really calming and meditative that I really gravitated towards right away when I learned how to weave. It’s a full body work, you’re using your whole body when you weave and I think that’s…It’s nice because I think you can kind of separate from your mind a little bit, That happens to me when I weave, I’m able to just kind of let my mind wonder or focus my body on what I’m doing.SWI feel like that is what a professional athlete or even a person practicing yoga strives for, to get to the moment when they loose themselves in thought, or can separate from their mind and just focus on the moment.KBThat’s part of being an artist I think, is like looking for that feeling, of just completely separating from reality. And, just being really involved in your work. I think that weaving definitely gets me there. There’s nothing like really falling into a repetitive motion with weaving and letting your mind go.SWI wanted to talk to you about your matches series. Do you enjoy the destruction aspect of the matches in your process? Or is it the hint that it might be destructive and cause the piece to eventually not exist?KBThat’s exactly it, I really like working with the matches because there is a lot of potential energy. It’s sort of an ephemeral state I think to be woven into cloth. The match has this potential for destruction and It says a lot about the preciousness of the cloth. It could be gone and I think with the matches, there’s also that middle state between creation and destruction that could go off at any minute.Once it’s gone, it’s gone and the matches take the cloth with it.There’s no record. I was feeling a little weird about documenting the work.SWWhen it was ignited?KBYeah! When I burned it, I didn’t take any videos. I thought it was really important to kind of have the before, have the record of the before, and then the record of the after. The piece it’s self is also kind of documentation of the after.SWOr maybe that the viewer should be there for the act?KBRight! like a ritual even. I think it was important to me to not document it, because I didn’t…I wanted the viewer to kind of guess or just make the connection. I think that cloth has the ability to transcend figure and ground. It’s always preforming no matter what state it’s in.Kaly has forwarded me to Emma Rhodes.
sorry for all the phone pics lately—it’s not exactly fiber art but I’ve been making bras! holla to pushing yourself and forever trying new things
new things happening!!
"An etherial aesthetic derives itself from the desire for a physical lightness to carry immaterial weight."
writing about my work
up close/freshly washed