Magdalena Abakanowicz: Soft Strength at the Tate Modern, London, England

Every Tangle of Thread and Rope, Abakans by Magdalena as installed at Tate Modern until May 21 

magdalena's brown abakan 1969,
 ball point pen sketch on opened note book, 6.5 x 8 inches

magdalena's embryology bundles circa 1980,
ball point pen sketch on opened note book, 6.5 x 8 inches

We visited the Tate Modern last week because I wanted to experience the Magdalena Abakanowicz exhibition.  While there, I borrowed one of those folding portable stools so that I could sit among the Abakans and draw them.  I wore my grey knit dress for these visits, because it had great pockets for my phone and little notebook.  My shoes were comfortable and I wore black tights, just like all the other pilgrims.  

embryology  1978 - 1981, burlap, cotton gauze, hemp rope, nylon, sisal, dimensions variable,
by Magdalena Abakanowicz

embryology, there are approximately 800 pieces in this body of work, 1978-81,
burlap, sisal, cotton gauze, hemp, stockings,  etc

When I sat close to the burlap wrapped bundles of the Embryology grouping, I could differentiate the wrapping materials:  brownish cheesecloth, grey and brown cotton stockings, twine, sisal, but I couldn't always tell what was inside them.  

Magdalena did not self-identify as a feminist yet her work is seen by many as emblematic of a powerful female imagery.  One can't help but think about birth and vulnerability while sitting with her work.  And sex.  And decay.  And nests, and wombs, and eggs.   Her work is about LIFE and its connection to fibres. 

mature woman sketching Magdalena Abakanowicz's Embryology
 at the Tate Modern, London, England

sketch of Magdalena's embryology,
 ball point pen on opened out notebook, 6.5 x 8 inches

By drawing them, I touched them slowly with my eyes.  I was touched by them.  They are hand made monuments to human labour and creativity.  The connection to the body and all its functions is so strong that I am finding it hard to express in words.  It's incredible.  The inspiration I felt when I was near them was deep.  I was pulled by heart strings into her spaces and even now, at home, I remember the experience as something holy. 

It was a privilege be so close to them.  I was in awe the whole time.  

Drawing the soft sculptures helped my mind and body absorb them. 

Sitting rather than standing helped my wobbly legs. 

mature woman in front of
Magdalena Abakanowicz's Abakan Orange 1968
at the Tate Modern exhibition, Every Tangle of Thread and Rope.

There's a new post on modernist aesthetic dedicated to Magdalena Abakanowicz's Abakans.   Click here

my ten thousand piece quilt

This is a simple post about the simple quilt that I am hand piecing this week. 

ten thousand piece quilt by Yoshiko Jinzenji, naturally dyed cotton, 72 inches quare

Inspired by Yoshiko Jinzenji's ten thousand piece quilt that she made in the 80's and included in her book, Quilt Artistry: Inspired Quilts from the East.  

I started it during the drive to Kitchener to deliver the Inside Out exhibition .  

Simple because you begin at the center, and then go round and round, increasing the number of patches in each strip as you work towards the edges.

My one patch quilts are usually made from collections of nine patch blocks that I join up.  

This one is different.  Simpler in a way.  

We continued on after Kitchener to a resort in Mexico.   

The fabrics are left over linen scraps from previous projects that I am using up.

Hand piecing squares fills me with positive energy.

As the work in my lap grows under my fingers, I feel stronger and braver.

 

The pink strip I'm adding today is 16 squares long.  It's left over from the sunshine quilt.    

This soft textile is a journal of days.  

It is recording memories of this week in Mexico with our daughter and her boyfriend.  

 Sending out love from us.  xo

she dropped into a dreamless sleep

I ask myself:  What am I doing? 

I answer:  I am making art.

I am making softness. 

I want my work to remain with you long after you physically leave.  

I have to trust my intuition all the time.    

"I think it is crucial to be aware of the things that come with intuition,  art, poetry, love, and to keep them alive because they don't weigh very much in the balance anymore."  Benoit Aquin  film artist  

I recently completed the audio book How To Write an Autobiographical Novel by Alexander Chee.  The last essay was entitled  "On Becoming an American Writer" . 

Chee teaches creative writing at Dartmouth College and often has to defend the art form to his own students.  They ask him "What is the point?"  "How can we keep making art in this world?" 

Alexander Chee answered his students in this essay.  He told them that art dedicated to tenderness is not weak, it is strong.  He said that this is the only world we have.  

He said:    

“I wanted to lead my students to another world, one where people value writing and art more than war, and yet I knew and I know that the only thing that matters is to make that world here. There is no other world. This is the only world we have. "

“I needed to teach writing students to hold on—to themselves, to what matters to them, to the present, the past, the future. And to the country. And to do so with what they write. We won't know when the world will end. If it ever does, we will be better served when it does by having done the work we can do.”

“That art -- even, or perhaps especially, art that is dedicated somehow to tenderness, dedicated as a lover who would offer something to her beloved in the last nights they'll share before she leaves this life forever -- is not weak. It is strength.”  

 "After a long time, he drew her against him and spread the edge of his cloak over her.  They lay side by side, barely touching, letting the power of the sun and the earth and the air move through them in harmony and she dropped into a dreamless sleep. " 

                                              Marion Zimmer Bradley (Mists of Avalon)