Sculptural Constructions in Fabric

Author

• Judith Keipp Johnson, University of Northern Iowa

Availability

Open Access Thesis

Keywords

Johnson, Judith Keipp--Exhibitions; Slides (Photography); Academic theses; Exhibition catalogs; Photographs;

Abstract

The title of this artist's thesis exhibition was "Fibre Works," but this abstract title is more appropriately "Sculptural Constructions in Fabric. It has been her experience that "fibres" is often associated . . with the weaving process and it is important to note that she works with fabrics--the end product of weaving. The artist's objectives are three-fold: 1) to take advantage of various fabric properties and utilize those qualities in a three-dimensional form, 2) to show clothing influence in the constructions, and 3) to suggest how particular clothing pieces might reflect broader restrictions in people and their environments. Of paramount importance to the artist was a focus on properties of fabric such as weight, transparency, texture, and firmness, using those qualities toward a sculptural end. She was further interested in altering these properties--i.e. by adding strength and tension by cording, by the manner of hanging the piece, and by using corset construction. It has been the artist's experience that people dealing with fabrics and fibres often neglect the way a fabric itself behaves. For example, satin is sometimes used in quilts because of the favored sheen and brilliance of color. What is ignored is the fact that the satin weave that produces the sheen and brilliance also makes it very slippery, causing the quilt to slip off the bed. Furthermore, the artist has seen costumes intended to be sensual, with focus on body line and drape of fabric--only to be made of a stiff, unyielding fabric and therefore destroying the intent. Although color has been used in the show and is important, it is of secondary importance to other property considerations. When a fibre artist deals with yarns, one is provided with a wide range of colors from which to choose--and if he does not find what he wants, in the case of natural fibre yarns he can dye them to suit. However, when dealing with fabrics, the choice of color is more 1imited because of availability. And in the pieces where recycled neckties have been used (slides 1, 4-9, 15, and 19), the problem of local availability is more apparent. Another consideration in color selection was that focus remain on the sculptural form and not be detracted by splashes of color within the shape. The artist limited the color range in each piece to a monochromatic scheme primarily.

Year of Submission

1978

Degree Name

Master of Arts

Department

Department of Art

First Advisor

Kenneth G. Gogel

Second Advisor

Harry G. Guillaume

Third Advisor

Ed Harris

Comments

The source material included 35 photographic slides.

If you are the rightful copyright holder of this thesis and wish to have it removed from the Open Access Collection, please submit a request to [email protected] and include clear identification of the work, preferably with URL.

Date Original

1978

Object Description

1 PDF file (9 leaves)

Copyright

©1978 Judith Keipp Johnson

Language

en

File Format

application/pdf

Recommended Citation

Johnson, Judith Keipp, "Sculptural Constructions in Fabric" (1978). Dissertations and Theses @ UNI. 3080.
https://scholarworks.uni.edu/etd/3080