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| Tapestries |
| Tel: 812-988-4497 |
| Email Charlene |
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Tapestries Click on an image to see more tapestries in that genre. Made from hand dyed wool, silk, cotton, and/or metallic yarns tufted onto a cotton backing. To see how the tapestries are made please visit: Making A Tapestry Click here to see: Mini Mandalas ~ 10" x 12" fiber jewels |
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| Contemporary Hooked Rugs, Themes and Memories, a book featuring eight of my tapestries, was written by Linda Rae Coughlin and published by Schiffer Publishing Ltd. Please visit www.TheArtRugs.com for more information and to purchase a copy. |
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"Textiles are Predominantly the Art of the Feminine" by Milton Carter http://www.orientalcarpets.com.au/index.htm "I slowly but surely became cognizant that here was an underappreciated art form existing alongside, but very different from the imperial western view of Fine Art. I discovered the art of women, of village, tribe and family and this textile art spoke directly to me. I was astounded by the power of this discovery and found my life's passion". "Throughout history, western art appreciation has consistently relegated fiber artistry to within the boundaries of craft - ie. the domestic realm, the feminine, of lesser value. The textiles I am involved in exhibit a confident aesthetic and irrespective of their historical context, ethnological meaning, or rarity, are works of art. "Oh you painters who ask for a technique of colour - study carpets and there you will find all knowledge " Paul Gaugin. In the canon of European art, the 20th century rates as the period of discovery of colour as pure non-representational form. So late compared with textiles! As in aboriginal art, nomadic and peasant textiles premise on the spiritual - utilising "storytelling" symbols of totemic and magic significance. My mission is to share and educate the community regarding these unique works of feminine sacred art. Before this age of mass production and child slavery there existed a feminine apotropaic and shamanistic weaving culture. That great culture, generically called "the Nomadic Horsemen of Central Asia" exists no more, and with it's demise go thousands of years of fascinating feminine spiritual knowledge. We do have some clues - the connections with various Turkic and American Indian cultures, for instance - but what speaks to us directly is the textiles themselves, as written and built histories generally have a "western male imperialist academic" filter and consequently do not address what the architect Chris Alexander has called "a foreshadowing of twenty-first century art". We in the very early 21st century see the ends of this culture, with pockets having survived in some form into the 1970's in parts of Afghanistan. We cry out for more, having just arrived at the end of an era. Fiber art connects with an archaic epoch when the Gods were female at a time when our own cultural tide washes those shores. Look at our domestic housing. In the past our houses existed of a hallway with separate rooms of a specific function. This was the accepted western style - to separate and name. Even the sedentary peoples of Central Asia put the kitchen and the women's quarters in sections apart from the more important men's rooms. But look at modern open plan living with multi-functional spaces and rooms opening directly from the main area. This is a kin to traditional nomadic and peasant dwellings such as the yurt, where the kitchen is the hearth, where the feminine world is the centre, not devalued but elevated. We listen, we look. We see the attentive consciousness shift outside ourselves. Enchantments of ontological porosity unfold. We feel what it actually is to be human, connected to the archaic heart at the bottom of us all. Effortlessly, joyfully, the whirlwind inside the kaleidoscope."
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