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    Marilou Schultz Weaves Computer Processor Patterns in Traditional Navajo Tapestries

    “Replica of a Chip” (1994), wool mounted on wood, 120 × 146.1 centimeters. Photo © Museum Associates/LACMA. Image courtesy of American Indian Science and Engineering Society, shared with permission

    Marilou Schultz Weaves Computer Processor Patterns in Traditional Navajo Tapestries

    November 14, 2024

    ArtCraftDesignHistory

    Kate Mothes

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    What does Intel’s Pentium computer chip have in common with Navajo textiles? More than you might think.

    For artist Marilou Schultz, the ancestral practice of weaving melds with an unexpected contemporary source of inspiration. Merging analog loom methods with the patterns found on computer processor cores, Schultz entwines the histories of the Navajo people and modern technology.

    Detail of Intel Pentium core processor die

    In the late 17th century, Spanish colonists introduced a breed of sheep called the Iberian Churro to the American Southwest. The Diné—known also as Navajo—who had lived in the Four Corners region for hundreds of years, embraced shepherding and wool production, eventually developing a unique breed still managed today, the Navajo-Churro.

    Along with an aptitude for raising sheep, Diné weaving traditions flourished. Anthropologists surmise that the craft was adopted from the neighboring Puebloans sometime in the 12th or 13th centuries. As time passed, Navajo styles and techniques evolved, rising to popularity first among Plains Indian tribes and then, in the 19th century, with Europeans and non-Native tourists who sought out blankets and rugs for their remarkable craftsmanship and geometric patterns.

    Schultz, a mathematician and teacher in addition to her studio practice, was commissioned by Intel in 1994 to make “Replica of a Chip” as a gift to the American Indian Science & Engineering Society, an organization still active today that focuses on advancing Indigenous people in STEM. As computer historian Ken Schirriff details in a thorough blog post about the piece—especially its highly accurate layout—the work highlights the alluring patterns of a trailblazing piece of technology.

    Detail of “Replica of a Chip”

    The first Pentium processor was released in 1993. About the size of a fingernail, the die—the material on which the processor is fabricated—contains more than three million transistors. These microscopic switches control the flow of electricity to process data. Today, some high-powered chips contain billions of transistors.

    Schultz faithfully transferred the die pattern to a tapestry, employing delicate loom techniques and working from a photograph of the chip. Unlike traditional Navajo textiles, the geometries in “Replica of a Chip” are far from symmetrical.

    She used yarn pigmented with plant dyes, and the cream-colored regions are the natural shade of Navajo-Churro wool. Schultz told Schirriff that the weaving process was slow and deliberate as she referenced the image, completing about one to one-and-a-half inches per day. The painstaking and methodical process of sending warp through weft creates a beautiful tension between the instantaneous results we associate with digital tools today.

    Intel Pentium processors

    “Replica of a Chip” was the first in a series of weavings Schultz created based on computer circuits, including one known as the Fairchild 9040. While not as common as the Pentium, the Fairchild company is notable for its employment of Navajo workers in its operation in Shiprock, New Mexico—within the Navajo Nation—in the 1960s and 1970s.

    Part of a government initiative to try to improve the economic conditions of life on the reservation, Fairchild was incentivized to open a manufacturing center in Shiprock. “The project started in 1965 with 50 Navajo workers in the Shiprock Community Center manufacturing transistors, rapidly increasing to 366 Navajo workers,” Schirriff says. Eventually, the company “employed 1,200 workers, and all but 24 were Navajo, making Fairchild the nation’s largest non-government employer of American Indians.”

    In 1975, the Fairchild-Navajo partnership took a dramatic turn that spelled its demise. With the semiconductor industry suffering from the crippling U.S. recession at the time, Fairchild laid off 140 Navajo employees in Shiprock, which today still has a population of only a little more than 8,000 residents. The layoffs were a blow to the community. A group of 20 locals, armed with rifles, responded by occupying the plant for a week.

    While the episode eventually ended peaceably, Fairchild decided to shutter entirely and move its operation overseas, further compromising trust in corporate interests on Navajo land.

    Women’s roles in manufacturing and assembling electronics are often under-recognized. Schultz taps into ideas around gendered labor, visibility, and the slippery notion of “progress.” Through the lens of Navajo history and craft, she addresses paradigm shifts in technology, economics, and social change through the language of fiber.

    You can see “Replica of a Chip” in Woven Histories: Textiles and Modern Abstraction at the National Gallery of Canada in Ottawa, which continues through March 2, 2025.

    Detail of “”Replica of a Chip”

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    ‘Crafted Kinship’ Unravels the Creative Practices of 60 Carribbean Artists, Designers, and Makers

    Morel Doucet. Photo by Alaric S. Campbell. All images excerpted from ‘Crafted Kinship’ by Malene Barnett and published by Artisan Books, © 2024, shared with permission

    ‘Crafted Kinship’ Unravels the Creative Practices of 60 Carribbean Artists, Designers, and Makers

    November 8, 2024

    ArtBooksSocial Issues

    Grace Ebert

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    A new book by Malene Barnett celebrates more than 60 artists, designers, and craftspeople whose work has been shaped by their Caribbean roots.Published by Artisan, Crafted Kinship: Inside the Creative Practices of Contemporary Black Caribbean Makers peers into a range of multi-faceted practices influenced by the diaspora. Whether drawing on connections to the land and memory or speaking to colonial histories and African origins, each creative shares insight into their practices, histories, and communities through insightful interviews.

    April Bey

    Several artists featured previously on Colossal have contributed their stories to the nearly 400-page tome. Firelei Báez, for example, discusses how her work strives to center the Caribbean within a global context by capturing traditions like Carnival or perfectly translating the way sunlight would filter through her grandmother’s backyard in the Dominican Republic.

    Similarly, Morel Doucet explains how foregrounding his Haitian identity has allowed him to tell his own story, rather than have others decide who or what his delicate, ceramic sculptures are about.

    Also included in the book are April Bey, who illuminates the relationship between opulence and thriving futures, and Sonya Clark, who unravels the Eurocentric distinction between art and craft. Barnett, too, is an artist and maker who shares glimpses into her studio and meticulous ceramic practices.

    Firelei Báez

    As a whole, Crafted Kinship focuses on the processes, considerations, and histories that go into a vast range of works, drawing connections between each element, maker, and their ancestral ties.

    Find your copy on Bookshop.

    Lavar Munroe

    Basil Watson

    Sonya Clark. Photo by Alaric S. Campbell

    Charmaine Watkiss

    April Bey. Photo by Alaric S. Campbell

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    Emily Van Hoff Sculpts Facets of Color in Vibrant, Dimensional Quilts

    All images courtesy of Emily Van Hoff, shared with permission

    Emily Van Hoff Sculpts Facets of Color in Vibrant, Dimensional Quilts

    October 21, 2024

    ArtCraftDesign

    Kate Mothes

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    For Emily Van Hoff (previously), the possibilities of quilts extend far beyond two dimensions. From geometric tapestries to faceted weavings and sculptural constructions, the artist traverses a wide array of textile forms.

    “I love giving my quilts more visual weight,” Van Hoff tells Colossal. “I like when they feel more chunky and object-like… So I’ve been exploring a variety of ways to accomplish that.”

    Van Hoff often revisits original sketches and offcuts of earlier pieces, puzzling together new works with a variety of textures, hues, and configurations. One striking recent experiment takes the shape of three chain links, which can be displayed in various orientations by sliding the components around, revealing unique angles and color combinations.

    “Some of my wall hangings have also used pieces that sort of overlap and weave through each other,” Van Hoff says, “and the chain link is the continuation of that idea as well.”

    The artist recently announced a line of quilting fabric she designed for Moda Fabrics titled Groove, which will be available in stores starting in May next year. The collection expands on her vibrant palette and playful, squiggly motifs.

    “My background is in graphic design,” Van Hoff says. “I’ve always loved textile design, and I worked in a fabric shop in high school, so this is a real dream-come-true moment!”

    Explore more on the artist’s website, where she adds pieces to her shop from time to time, and follow updates on Instagram.

    ‘Groove’ series of designs for Moda Fabrics

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    In ‘Spirit Level,’ Tau Lewis’s Monumental Figures Usher in an Unearthly World

    Installation view of ‘Tau Lewis: Spirit Level’ (2024) at the Institute of Contemporary Art/Boston. Photo by Mel Taing. All images courtesy of ICA Boston, shared with permission

    In ‘Spirit Level,’ Tau Lewis’s Monumental Figures Usher in an Unearthly World

    September 6, 2024

    Art

    Grace Ebert

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    At the Institute of Contemporary Art in Boston, Tau Lewis (previously) presents a vast cosmology in which monumental, mythic beings herald in a new world. Five figures stand nearly 11 feet tall in draping garments, their hands positioned in distinctive gestures. With titles like “The Doula” and “The Reaper,” each bears a particular role as they loom over a large circular quilt at the center of the gallery floor.

    From found fabrics and objects, Lewis created the towering sculptures for Spirit Level, her first solo museum show in the U.S. The Toronto-born artist maintains a robust collection of materials in her Brooklyn studio, which she painstakingly stitches and sculpts into unearthly beings. These works continue her interest in how objects hold meaning and memory.

    “Mutasis Moon” (2021), recycled leather, seashells, sand dollars, acrylic paint, PVC pipe, galvanized steel, muslin, and recycled poly fibers, 40 x 40 x 25 inches. Photo by Pierre Le Hors, courtesy of the artist and Sadie Coles HQ, London, © Tau Lewis

    Her 2021 figure “Mutasis Moon,” for example, is an alien-like creature with four eyes and turquoise hands. Wrapped around a galvanized steel and PVC armature, the friendly painted-leather figure stands with arms outstretched as if welcoming the viewer.

    In Spirit Level, remnants of clothing, muslin scraps dyed with rust, snakeskin, conch shells, and coral bone merge, transposing the materials’ origins into new contexts. “The Doula,” for instance, wears a dark green, blue, and brown gown of leather and suede and is what the artist calls a “portrait of the sea.” Conjuring the dark depths of the ocean, the sculpture alludes to a space where life and death coexist.

    The gold-outfitted figure is titled “The Handle of the Axe,” which references the epigraph of Alice Walker’s 1992 novel Possessing the Secret of Joy that states: “When the axe came into the forest, the trees said, ‘the handle is one of us.’” Arms open for an embrace, the sculpture draws on the tensions between the desire for nonviolence and the struggle for liberation.

    At the center of the figures is “The Last Transmission,” the sprawling quilt that radiates outward from a starfish at the center. Small fabric panels adorned with glass, beads, and wire form an elaborate patchwork, appearing as an architectural portal to another universe.

    Spirit Level is on view in Boston through January 20, 2025, after which it will travel to David Zwirner in Los Angeles. Find more from the artist on her website and Instagram.

    Installation view of ‘Tau Lewis: Spirit Level’ (2024) at the Institute of Contemporary Art/Boston. Photo by Mel Taing

    “Harmony” (2019), recycled leather, recycled poly fibers, rebar, wire, hardware, seashells, stones, and acrylic paint, 39 3/4 x 47 x 35 inches. Image © Tau Lewis

    “Knot of Pacification” (2021), recycled leather, wool, and suede, 114 x 100 inches. Image courtesy of the artist and Night Gallery, Los Angeles, © Tau Lewis

    Installation view of ‘Tau Lewis: Spirit Level’ (2024) at the Institute of Contemporary Art/Boston. Photo by Mel Taing

    Installation view of “The Last Transmission” (2024), recycled leather and suede, cotton canvas, acrylic paint and finisher, natural dyes, assorted found metal, wood, ceramic, and glass objects, wire, beads, seashells, coated nylon thread, and coated cotton thread, overall diameter approximately 240 inches. Photo by Mel Taing

    Detail of “Mutasis Moon” (2021), recycled leather, seashells, sand dollars, acrylic paint, PVC pipe, galvanized steel, muslin, and recycled poly fibers, 40 x 40 x 25 inches. Photo by Pierre Le Hors, courtesy of the artist and Sadie Coles HQ, London, © Tau Lewis

    “Venus in Leo” (2023), steel, wood, enamel paint, acrylic paint, leather dye and finisher, recycled leather and suede, recycled fabric, found jewelry, clam shells, and coated nylon thread, 68 x 18 x 18 inches. Photo by Charles Benton, courtesy of the artist, Night Gallery, Los Angeles, and JTT, New York, © Tau Lewis

    Detail of “Venus in Leo” (2023), steel, wood, enamel paint, acrylic paint, leather dye and finisher, recycled leather and suede, recycled fabric, found jewelry, clam shells, and coated nylon thread, 68 x 18 x 18 inches. Photo by Charles Benton, courtesy of the artist, Night Gallery, Los Angeles, and JTT, New York, © Tau Lewis

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