Industrial materials and rugged topographies converge in Jacqueline Surdell’s knotted tapestries

Art

#channels #rope #sculpture #tapestry #textiles

July 29, 2021

Grace Ebert

“We Will Win: Our Banner in the Sky (after Frederic Edwin Church)” (2020), cotton, nylon, paracord, fabric and ribbons cord, 84 x 108 x 12 inches, 120 inch bar. Photo by Ian Vecchiotti. Images courtesy of Jacqueline Surdell and Patricia Sweetow Gallery, shared with permission

Chicago based artist Jacqueline Surdell suturing lengths of cord, fabric and silky ribbons into sprawling abstract tapestries suspended from walls and freestanding frames in textured and colored masses. Swollen clusters of knots and ties, loose weaves, braided tunnels and dangling strands make up his three-dimensional compositions which are disturbed by objects used sporadically like steel chains, volleyballs, and polyester shower curtains. Due to the scale of the pieces and heavy materials, the artist often uses her body as a shuttle to weave the brightly colored fibers together on massive hand-built looms.

Surdell incorporates parts of his upbringing in Chicago into his wall sculptures, particularly childhood memories of his grandmother’s landscape paintings and his grandfather’s work in the South Side steel mills. These two experiences converge in his textured works, evoking vast grounds and the industrial history of the city through his use of commercial materials. Each piece offers further reflections on today’s world, with energetic and chaotic pieces like “We Will Win: Our Banner in the Sky” (above) responding to the busy political landscape in the United States and the United States. destructive events such as forest fires and the loss of coral reefs triggered by the climate crisis.

You can find more of Surdell’s large-scale tapestries at his site, and go to Instagram to see his latest work in progress.

Detail of “We Will Win: Our Banner in the Sky (after Frederic Edwin Church)” (2020), cotton cord, nylon, paracord, fabric and ribbons, 84 x 108 x 12 inches, 120 inch bar. Photo by Ian Vecchiotti

“Sacrifice of Columbia: Destruction (after Thomas Cole)” (2020), cotton cord, nylon cord, fabric, printed polyester shower curtain, American flag jacket, steel battle rope anchor, steel chain, tarp canvas, acrylic paint drips and wood frame, 84 x 96 x 12 inches. Image courtesy of Patricia Sweetow Gallery

Left: “Neon Hymn” (2020), braided cotton cord, paracord, enamel and oil stick, 80 x 26 x 12 inches. Right: “Scylla III: The Pastoral State (after Thomas Cole)” (2020), cotton cord, nylon cord, paracord, printed cotton towel, steel frame and volleyball, 27 x 27 x 1.5 inches ( frame), 33 x 85 x 9.5 inches (floor extension). Images courtesy of Patricia Sweetow Gallery

“Straight-laced: The Consummation of Empire (after Thomas Cole)” (2020/21), cotton cord, nylon cord, paracord, printed polyester and steel shower curtain, 96 x 64 x 14 inches. Photo by Ian Vecchiotti

Left: “Purging: Desolation (after Thomas Cole)” (2021), cotton cord, nylon cord, fabric, printed polyester and steel shower curtain, 86 x 71 x 12 inches. Image courtesy of Patricia Sweetow Gallery. Right: “Untitled II” (2015), braided cotton cord, steel rod and steel frames, 60 x 60 inches. Image courtesy of Jacqueline Surdell

Detail of “Sacrifice of Columbia: Destruction (after Thomas Cole)” (2020), cotton cord, nylon cord, fabric, printed polyester shower curtain, American flag jacket, steel battle rope anchor, steel chain , canvas tarp, acrylic paint drops, and wood frame, 84 x 96 x 12 inches. Image courtesy of Patricia Sweetow Gallery

“Untitled XII (reflections on the water)” (2020), braided cotton cord and steel, 60 x 144 x 12 inches. Image courtesy of Jacqueline Surdell

#channels #rope #sculpture #tapestry #textiles

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