known hand

Known Hand


'Known Hand', Allyce Wood

​Known Hand

installation of digitally printed textiles, string, metal hardware, wood, paint, found objects, dimensions variable, 2018. Shown as a solo exhibition entitled Known Hand at Low Standards, 10.2018

'Known Hand', Allyce Wood

Known Hand reflects on the looping method of production in which authorship is foggy — who is responsible for each step, the computer, the internet, the loom, or me, the artist?

 

These digitally woven Jacquard tapestries are graphic, their designs including text as well as photo-derived based imagery. Poetic snippets such as ‘oil’ or ‘known touch’ are seen scattered across the textiles, their singularity allowing them to read like keywords or associative clues that conjure images or connections to the abstracted images they are superimposed onto. These base images are of processed images of marble, skin, or raindrops on glass — symbolic imagery of other surfaces built up of small pieces just as the weave is.

Also included in the weave’s motifs are targets, bands of magenta, and opposite-colored fragments of other motifs edging the main images. These are elements inform the installation of the piece and how  it will hang. This ensures that these rectangular textiles were disrupted, altered, broken from the form they came off the loom as. This a way to reclaim the digital object for the real world, giving the textiles a physicality, a breath of real air.

Known Hand was first shown at TRAUST, MFA Graduate Exhibition, KHiO, 2018

traust-mfa.com/index.html​traust-mfa.com

'Known Hand', Allyce Wood
'Known Hand', Allyce Wood
'Known Hand', Allyce Wood

Known Hand reflects on the looping method of production in which authorship is foggy — who is responsible for each step, the computer, the internet, the loom, or me, the artist?

 

These digitally woven Jacquard tapestries are graphic, their designs including text as well as photo-derived based imagery. Poetic snippets such as ‘oil’ or ‘known touch’ are seen scattered across the textiles, their singularity allowing them to read like keywords or associative clues that conjure images or connections to the abstracted images they are superimposed onto. These base images are of processed images of marble, skin, or raindrops on glass — symbolic imagery of other surfaces built up of small pieces just as the weave is.

Also included in the weave’s motifs are targets, bands of magenta, and opposite-colored fragments of other motifs edging the main images. These are elements inform the installation of the piece and how  it will hang. This ensures that these rectangular textiles were disrupted, altered, broken from the form they came off the loom as. This a way to reclaim the digital object for the real world, giving the textiles a physicality, a breath of real air.