SHIFT   exploring layers of perspective

artist statements

Barbra Edwards:

As I begin a new painting a narrative slowly develops. Form begins to speak to form. I find that like people, some forms want to be beside each other, some do not. Editing and sacrifice continually take place as I paint. Reduced to its most minimal context form and colour can produce human emotion as you stand in front of the canvas. It’s exciting when that happens. Line is used to suggest movement, layers of perspective or substance in my work. In some cases I use obvious line to explore separation in ways each of us look at something.

Fiona Duthie and I had only met for the first time to prepare for this exhibition and I’ve been inspired by her exceptional work and genuine personality. There is a natural flow in what both of us are creatively saying in (the language of) our respective art forms. We have discussed a direction we want to explore and laugh at how tightly woven our perspectives already are.

I realize my painted forms are already speaking to Fiona’s felted forms!

Fiona Duthie:

This recent work uses the shift dress as a canvas; a universal, feminine form. I like the interplay of the simple shaping, the complex surfaces, and the insinuation of the name.  Shift, implying movement in perception or geography, whether intentional or imposed.  The forms appear simple, but we understand there are obscured movements and layers of context built up to create what we see and what we present to the world.

These sculptural garments use geological surfaces created through fabric manipulation, stratified textiles and mapping imagery to explore biography and individual perspective.  Lines of topography, tracks, trails, and traces.  Each piece is created as a seamless garment through traditional feltmaking. The only sewing is done at the end, completing the story through surface embellishment. The pieces are mostly dyed using natural plant dyes, another connection to sense of place.

As this exhibition developed, I enjoyed the energy and life that is present in Barbra’s work. And this is like Barbra herself.  We did not work off each other’s pieces, but with every new conversation and sharing of works in progress we discovered incredible connections and mutual perspectives. These pieces were evolving within our studios, autonomously, but already in relationship.