Earthfold

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Jessica Rankin – Cloud from Silt, 2009. Embroidery on organdy, 113 x 184 cm

This spring the works of artist couple Julie Mehretu (°1970) and Jessica Rankin (°1971) were brought together in the exhibition ‘Earthfold’ at the museum Dhondt-Dhaenens in Belgium. They share the same studio space in New York and both use abstraction as artistic language. How fascinating it was to see how their artistic practice is naturally different but at the same time seems to fit so well together and resulted in collaborative works made for this exhibition.

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Jessica Rankin – Empty Night, 2009. Embroidery on organdy, 274 x 234 cm

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Jessica Rankin – Empty Night, 2009 – Detail

Julie Mehretu is primarily known for her works expressing a metropolitan dynamic. I had admired her work in several exhibitions and museum collections. The work of Jessica Rankin was new to me and such a great discovery. I loved it at first sight. Rankin is born in Australia and she reworks the typical compositions of geographical and astronomical maps in collages, watercolours and embroidered works. As a lover of textile art I fell hard for her embroidery works. She uses organdy as a carrier which gives the work an interesting transparency. The loose threads at the back all add to the composition at the front side. Patterns and meaning stitched together.

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Jessica Rankin – Quis Est Iste Qui Venit, 2012. Embroidery on organdy, 213 x 123 cm

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Jessica Rankin – Quis Est Iste Qui Venit, 2012 – Detail

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Jessica Rankin – Noesis, 2010. Embroidery on organdy, 182 x 182 cm

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Jessica Rankin – Untitled I, 2011. Embroidery on organdy, 150 x 150 cm

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Jessica Rankin – Passage Dusty (Humming), 2007. Embroidery on organdy, 106 x 152 cm

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Jessica Rankin – Termagent (La Fille de Theia), 2014. Embroidery on organdy, 107 x 107 cm

For an artsy web-exhibition of 33 works from Jessica Rankin click here.

All pictures in this post are taken by me in the Earthfold exhibition.

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Origami – Sarah Morris

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Sarah Morris – Rose (Origami), 2014. Based on a crease pattern “Rose” by Noboru Miyajima. Household gloss print on canvas 214 x 214 cm.

For her films and paintings she travels the world. Sarah Morris (° 1967, UK) lives and works in New York but filmed in China, Rio de Janeiro and Paris. And moreover she manages to film where no journalist would ever come in. It might help that she never records sound – “it’s art anyway” she explains. Her mission is to search for the truth  behind the glossy appearances in the economical capitals of the world.

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Sarah Morris – Angel (Origami), 2009. Based on a crease pattern “Harpy” by Jason Ku. Household gloss print on canvas 214 x 214 cm.

I discovered her work in the M-Museum in Leuven (Belgium) where a good overview of her work was shown earlier this year. Morris’ paintings, known for their distinct use of color, explore themes like power, style, economy. I like how her research of urban stories is translated into different forms. Her paintings, films and filmposters all seem to convey her insights of power relations into sounds, images, colours, patterns…

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Sarah Morris – Rockhopper (Origami), 2009. Based on a crease pattern “Penguin” by Noboru Miyajima. Household gloss print on canvas 289 x 289 cm.

I particularly liked her painting series Origami and the painted over vintage film posters. Morris used to work as assistant for Jeff Koons but now travels the world as a nomadic urbanist looking for intriguing power games to unravel in her art.
Find out more on her website.

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Sarah Morris – Pulp Fiction, 2013. Ink and gouache on film poster, 157×115 cm.

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Sarah Morris – Il Coltello Nell’Acqua, 2014. Ink and gouache on film poster, 140×100 cm.