PROJECTS –––––––
EXHIBITIONS –––––––
SEWING DISCORD
SEWING DISCORD
Ginette Chittick, Hazel Lim, Nature Shankar,
Berny Tan and Jodi Tan (Singapore)
16 April – 29 August 2020 | Jendela Gallery, Esplanade
To sow discord is to say and do things that cause a group as a
whole to distrust one another, and begin to argue and then to fight. Sowing discord is oft something
done in secret, by deceit and subterfuge. The play of the phonetics in the
exhibition title Sewing Discord took a leaf from this definition by
focusing on how craft as a technique was appropriated from its common use in
domesticated environs to a chosen approach by these artists to articulate
craft’s inherent power and an intended reversal of meaning from
passivity/domesticated to one of renewed strength.
Sewing Discord was an exhibition that brought together 5 artists/designers whose creative approaches incorporate aspects of domestic crafting technologies such as weaving, embroidery, origami and cross-stitching. Whilst interrogating other mediums such as painting, sculpture and architectural forms, their use of craft as a methodology was one that seeks to reinterpret the position of craft in the hierarchy of visual culture. Commonly seen as a medium used by women in domesticated spaces - it is devoid of power and strength and one that is perceived as purely decorative and trivial. Whether the artists were using personal narratives as an anchor point, or negotiating visual forms through the lenses of sculpture or painting, domestic craft as a method was meant to raise conversations about the unspoken, unseen and invisible. In many ways, the artists intended for the craft technique/s used to create deceptions of craft’s commonplace meanings and allusions. Thus, Sewing Discord was meant to draw one’s stereotypical perception of craft and sought to thwart and upset the meanings it had come to possess.
Exhibition Guide
Offstage - Interview with Hazel Lim and Ginette Chittick Art and Market - Review by Stephanie Yeap
Lianhe ZaoBao - Review by Li Yage
Sewing Discord was an exhibition that brought together 5 artists/designers whose creative approaches incorporate aspects of domestic crafting technologies such as weaving, embroidery, origami and cross-stitching. Whilst interrogating other mediums such as painting, sculpture and architectural forms, their use of craft as a methodology was one that seeks to reinterpret the position of craft in the hierarchy of visual culture. Commonly seen as a medium used by women in domesticated spaces - it is devoid of power and strength and one that is perceived as purely decorative and trivial. Whether the artists were using personal narratives as an anchor point, or negotiating visual forms through the lenses of sculpture or painting, domestic craft as a method was meant to raise conversations about the unspoken, unseen and invisible. In many ways, the artists intended for the craft technique/s used to create deceptions of craft’s commonplace meanings and allusions. Thus, Sewing Discord was meant to draw one’s stereotypical perception of craft and sought to thwart and upset the meanings it had come to possess.
Exhibition Guide
Offstage - Interview with Hazel Lim and Ginette Chittick Art and Market - Review by Stephanie Yeap
Lianhe ZaoBao - Review by Li Yage
VIDEOS –––––––
SEWING DISCORD EXHIBITION WALKTHROUGH
SEWING DISCORD ASMR PROCESS VIDEO
PROJECTS –––––––
EXHIBITIONS –––––––
PLANES &
ENVELOPES
PLANES & ENVELOPES
Ginette Chittick and Hazel LimMarch – April 2019
| UltraSuperNew Gallery
–
Planes and Envelopes featured two artists who employ the weave to create object-based works with the use of materials such as fabric, yarn and paper.
As two individuals whose academic backgrounds and artistic practices are grounded in design and fine arts, their studio works in the area of weaving had led them to situate their practices within the intersections of contemporary art, design and craft. They are inspired by the work done by individuals and in particular, females whose heritage and cultures are embedded in the craft practices that constitute a part of their everyday life, such as weaving, embroidery, knitting, quilting, crocheting, tapestries, origami, basket weaving, etc.
These artistries, for them, possess the aesthetics of care. Intrinsically tied up mostly with the domestic realm, they involved the intricate patterning or fashioning of materials to create objects and things one can use around and within the house. They are steeped with intentions of care and protection for the people who use them or adorn them in the house.
Planes and Envelopes refers to the mountain and valley folds of the weave, a modular pattern that add up to create and produce a larger object (be it tapestry, blanket, basket, etc). It reflects the aesthetics of care, the ritual of addition, repetition, systems all interwoven with care and dedication.
ABOUT THE ARTISTS
![Hazel Lim and Ginette Chittick]()
Ginette employs a local kapok cotton and wool blend to hand spin a yarn that she used to create a series of tapestries. For her, the aesthetics of care is dominant in her work not just purely in the use of the handmade yarn but also in the process-based techniques and the meditations on individual space during the making process.
Hazel creates modular pieces of paper that are repeated and interlocked with one another. Using transparent and semi-transparent paper of varying shades, she joins the modular parts to form large-scale malleable pieces of sculpture that uses the properties of the coloured paper to diffuse and reflect light and shadows. The joining of the modular pieces for her is a type of weave, where individual parts come together to form something larger in scale and form.
Ginette employs a local kapok cotton and wool blend to hand spin a yarn that she used to create a series of tapestries. For her, the aesthetics of care is dominant in her work not just purely in the use of the handmade yarn but also in the process-based techniques and the meditations on individual space during the making process.Hazel creates modular pieces of paper that are repeated and interlocked with one another. Using transparent and semi-transparent paper of varying shades, she joins the modular parts to form large-scale malleable pieces of sculpture that uses the properties of the coloured paper to diffuse and reflect light and shadows. The joining of the modular pieces for her is a type of weave, where individual parts come together to form something larger in scale and form.
