https://nancypricestudio.ca nancyprice Fri, 16 Aug 2019 00:00:25 +0000 https://nancypricestudio.ca en https://nancypricestudio.ca/About Tue, 23 Apr 2019 16:35:14 +0000 nancyprice https://nancypricestudio.ca/About Nancy Price was born in Sault Ste. Marie, Ontario, Canada and has resided predominantly in Nova Scotia, Canada for the past 25 years. She has (Textile) degrees from the Ontario College of Art (1984) and the Nova Scotia College of Art and Design University (2002) and more recently studied at Ecole de La Chambre Syndicale de la Couture Parisienne (2014). Price has received awards and award nominations for her work. &nbsp;Her design and textile experience includes periods working in Italy, Japan, and the Stratford Festival wardrobe department in Ontario. Her distinctive accessory designs have appeared in boutiques alongside international avant-guarde clothing designers, and in film. &nbsp;Currently emphasis is on her gallery production which has appeared in several solo and group exhibitions. In 2015 Price co-organized and curated with Naoko Furue an exhibition titled MEISEN: From the Collection of Haruko Watanabe. This exhibition comprised the largest single collection of Meisen kimono in the world. Price’s teaching and production record attests to the scope of her lateral and interdisciplinary capacity. Price is interested in work which considers technical and conceptual overlaps. Much of Price’s work addresses the notion of “fitting”, both literally and metaphorically, often with regard to her own “fit” within various situations. She engages ironically but affectionately with themes of high and low "taste". &nbsp;Her work includes loom-shaped garments sensitive to material and structural properties. Madeleine Vionnet is Nancy’s cultural hero in the context of clothing and dress.&nbsp;&nbsp;Vionnet is nick named “The Queen of Draping”!&nbsp;Nancy’s love of cloth in relationship to the concept of clothing and the lived body has been central to her artistic output and research the past two decades. Textile artist, curator and scholar, Dr. Wendy Landry states: “Price’s work directly relates body and home décor as parallel modes of materiality constituting our socialized spatial environments that establish our fit and aspirations to, or our comments on, diverse dimensions of behavior and civility. &nbsp;These works also expressively delineate the intimate fit of dress with bodily anatomy and movement, as well as with social identity.” Artist, curator, author Stephen Horne writes: “With these works that traverse the boundaries of art, couture&nbsp;and craft, Price considers what is implied with the notion of “fitting” or it’s alternative, to not “fit.” Her conjunction of meticulous crafting and attention to varieties of detail are revealed in a work such as “Go On…” (2008). She has incorporated a series of expressionistic phrases or slogans appropriately spelled in the fabric by burning out the letters from the dress’s material. &nbsp;The imperatives she proposes (living, loving, dying) are all processes of dispersal, of ways in which a self is fractured, multiplied, lost, displaced. These are Nancy Price’s alternatives when faced with the constraints of “fitting.” At the same time, she uses processes and techniques that recollect aspects of tradition. Thinking through making and thinking in materiality, Price reshapes the body and its capacities such as movement and gesture while crossing from moments of comic absurdity to expressions of genuine reverence, between the materials and forms of popular or folk culture and high modernist couture.” https://nancypricestudio.ca/CV Thu, 15 Aug 2019 18:56:50 +0000 nancyprice https://nancypricestudio.ca/CV Nancy Price East Dover, Nova Scotia, Canada Education 2013&nbsp; &nbsp; Ecole de La Chambre Syndicale de la Couture Parisienne, Paris, France 2003&nbsp; &nbsp; MFA, Nova Scotia College of Art and Design University, Halifax, Nova Scotia 1984&nbsp; &nbsp; Ontario College of Art and Design, Toronto, Ontario Professional Development&nbsp; &nbsp; University of Toronto, Intro to Italian &nbsp; &nbsp; Algoma University, Computer Programming &nbsp; &nbsp; Université de Montréal, Intro to French&nbsp; &nbsp; &nbsp; Mentorship workshops: rug braiding, penny rugs, knitting, card-weaving and rug hooking. Selected Post Secondary Teaching Experience Dalhousie University, School of Performing Arts, Costume, Halifax, Nova Scotia, Canada &nbsp; &nbsp; Draping – Costume Studies, Dalhousie University, Halifax, Nova Scotia (2016-2018) NSCAD University, Halifax, Nova Scotia, Canada &nbsp; &nbsp; Intro Screen Printing, Textiles (2003-08, 2010-2015) &nbsp; &nbsp; Repeating Pattern, Textiles (2003-06, 2010, 2012-19)&nbsp; &nbsp; &nbsp; &nbsp; FFF, Fashion (Fibre Fabric Fashion) (2014, 2018) &nbsp; &nbsp; Textiles in the Interzone (Hybrid Practice and Textiles) (2011) &nbsp; &nbsp; Intermediate Dye and Print, Textiles - NSCAD University (2008) &nbsp; &nbsp; TA, Intermediate Weaving, Textiles (2003) &nbsp; &nbsp; Advanced Studio/Seminar (Interdiciplinary) – &nbsp;(2002-2015) &nbsp; &nbsp; Intro to Studio Practice (Foundation) (2001) Alberta College of Art and Design (ACAD) Fibre Department &nbsp; &nbsp; Introduction to Screen Printing (2009-10, 2006-07) &nbsp; &nbsp; Intermediate Dye and Print (2009 &amp; 10) &nbsp; &nbsp; Introduction to Weaving (2007 &amp; 2010) &nbsp; &nbsp; Intermediate Surface Design - ACAD (2006/07 &amp; 2008) &nbsp; &nbsp; Silk Screen Printing – ACAD (2007-08) &nbsp; &nbsp; Fibre 3D form (2007) Transart Institute, Berlin, Germany &nbsp; &nbsp; Interdisciplinary Graduate Course: Identity: a Discourse of Body, Cloth and Personality (2009) Workshops Art Teacher (1995 to present) &nbsp; &nbsp; I have taught numerous workshops in galleries and other cultural environments &nbsp; &nbsp;&nbsp;&nbsp; Selected Exhibitions 2018&nbsp; &nbsp; Dalhousie Art Gallery (group), Halifax, Nova Scotia 2018&nbsp; &nbsp; Here Here Production, (sound/dance) Bridgewater/Antigonish, Nova Scotia 2018&nbsp; &nbsp; Art Bank Purchase Program Nova Scotia (group), Anna Leonowans, Halifax, Nova Scotia 2017&nbsp; &nbsp; Oh Canada!, (group exhibition), Mary Black Gallery, Halifax, Nova Scotia 2016&nbsp; &nbsp; Common Threads, (group exhibition), Anna Leonowans Gallery, Halifax, Nova Scotia 2015&nbsp; &nbsp; 25th Wearable Art Show (group), NSCAD University, Halifax, Nova Scotia 2014&nbsp; &nbsp; From the Collection of Haruko Watanabe: MEISEN (Curator and co-organizer with Noako Furue), Anna Leonowens Gallery, Halifax, Nova Scotia 2014&nbsp; &nbsp; RPT@NSCAD Adjunct Faculty Show (group), Anna Leonowens Gallery, Halifax, Nova Scotia 2011&nbsp; &nbsp; Sartorial Relations (solo), Art Gallery of Algoma, Sault Ste. Marie, Ontario 2010&nbsp; &nbsp; Faculty Exhibition (group), Illingworth Kerr Gallery, Calgary, Alberta 2009&nbsp; &nbsp; OutOffSide (group), Artscape Wychwood Barns Gallery, Toronto, Ontario 2009&nbsp; &nbsp; Hopeless…Romantic (solo), Stride Gallery, Calgary, Alberta, Canada 2008&nbsp; &nbsp; Soap Box, “God Bless Our Mortgaged House” (group), Khyber ICA 2008&nbsp; &nbsp; Academy (group), Illingworth Kerr Gallery, Calgary, Alberta 2007&nbsp; &nbsp; Bias consistent variable project, The Works Art &amp; Design festival (group), Edmonton, Alberta 2006&nbsp; &nbsp; Brave New World (group), Diaspora Vibe Gallery, Miami, Florida, USA 2006&nbsp; &nbsp; Did You Know? (group), Mary Black Gallery, Halifax, Nova Scotia 2004-2006 &nbsp;Wearable Art Show (group), Pier 21, Halifax, Nova Scotia 2004&nbsp; &nbsp; Material Decorum (three-person), Mary Black Gallery, Halifax, Nova Scotia 2004&nbsp; &nbsp; Off Stage (group), Gallery 96, Stratford, Ontario, Canada 2003&nbsp; &nbsp; East Coast Fashion Awards (2nd prize), Marquis Club, Halifax, Nova Scotia 2003&nbsp; &nbsp; Fitting In (MFA solo thesis ehibition), Anna Leonowans Gallery, Halifax, Nova Scotia 2003&nbsp; &nbsp; Grad(e) School (group), Anna Leonowans Gallery, Halifax, Nova Scotia 2003&nbsp; &nbsp; Wearable Art Show, Marquis Club, Halifax, Nova Scotia 2002&nbsp; &nbsp; Loose Collective (MFA group), Anna Leonowans Gallery, Halifax, Nova Scotia 2002&nbsp; &nbsp; Mittens (group), Anna Leonowans Gallery, Halifax, Nova Scotia 2001&nbsp; &nbsp; East Coast Fashion Awards, Marquis Club, Halifax, Nova Scotia 2001&nbsp; &nbsp; Interest Group (group), Anna Leonowans Gallery, Halifax, Nova Scotia 2001&nbsp; &nbsp; Clamped (two-person), Alderney Gate Gallery, Dartmouth, Nova Scotia 2001&nbsp; &nbsp; Hats (solo), Anna Leonowans Gallery, Halifax, Nova Scotia 2000&nbsp; &nbsp; International Tapestry Exhibition (group), Beijing, China 1999&nbsp; &nbsp; Schoolhouse (two-person), Lunenberg County, Nova Scotia 1992 &nbsp; &nbsp;Nancy Price (solo), Art Gallery of Algoma, Sault Ste. Marie, Ontario Selected Awards, Publications &amp; Collections 2018&nbsp; &nbsp; Four Month Production Grant, Arts Nova Scotia 2018&nbsp; &nbsp; Purchase, “Four Block”, Nova Scotia Art Bank 2017&nbsp; &nbsp; Four Month Production Grant, Arts Nova Scotia 2016&nbsp; &nbsp; Full Scholarship, Workshop: Designing for Dance, Banff Centre 2016&nbsp; &nbsp; Travel Grant, Canada Council for the Arts 2015&nbsp; &nbsp; Production Grant, Arts Nova Scotia 2006&nbsp; &nbsp; Article re: textile work in “A Stone’s Throw” film, Halifax Weekly News 2005&nbsp; &nbsp; “OUT fits”, Surface Design Journal, Article: Dr. Wendy Landry 2004&nbsp; &nbsp; Purchase, “Duplex Dress” - Nova Scotia Art Bank 2004&nbsp; &nbsp; Wearable Art Show and Material Decorum Exhibition, Chronicle Herald Newspaper &amp; CBC news, Author: Elissa Bernard 2002&nbsp; &nbsp; Joseph Beuys Scholarship, NSCAD University 2002&nbsp; &nbsp; Grant, Nova Scotia Arts Council 2001&nbsp; &nbsp; Guthrie Award, Stratford Festival of Canada Selected Residencies &amp; Research 2016&nbsp; &nbsp; Designing For Dance Workshop, Banff Centre for the Arts, Banff, Alberta 2013&nbsp; &nbsp; Printed Textile Research, Musee de L’Impression des Etoffes, Mulhouse, France 2008&nbsp; &nbsp; Residency, Gushel Studio (University of Lethbridge), Blairemore, Alberta 2000&nbsp; &nbsp; Residency, Marushin Embroidery Factory, Kiryu, Japan Selected Work Experience 1996-2018 &nbsp;Nancy Price Studio 2012&nbsp; &nbsp; Halifax Crafters (woven wearable pieces) 2008&nbsp; &nbsp; A Stone’s Throw (film) by Camelia Frieberg (woven wearable pieces) 2003-2004 &nbsp;Technician (PT) – NSCAD University Textile Department 2002-2001 &nbsp;Craft Assistant, Wardrobe Department - Stratford Theatre, Stratford, ON 1993-1995 &nbsp;Assistant Manager, Houston North Gallery, Lunenburg, Nova Scotia 1991&nbsp; &nbsp; Project Design &amp; Instruction, Hands Up Hands On – Children’s Educational Television Set Design, Our Little House – Children’s Education Television 1989 &nbsp; &nbsp; Assistant, Furniture Design Studio Michel Sbrogio, Udine, Italy <img width="381" height="468" width_o="381" height_o="468" data-src="https://freight.cargo.site/t/original/i/cc2276be83a1f31ca45a3f80ff12446ed6da9f16a01d6bb8e82970a328598191/buttons-pages.png" data-mid="49114742" border="0" data-scale="45" src="https://freight.cargo.site/w/381/i/cc2276be83a1f31ca45a3f80ff12446ed6da9f16a01d6bb8e82970a328598191/buttons-pages.png" /> https://nancypricestudio.ca/research Fri, 16 Aug 2019 00:00:25 +0000 nancyprice https://nancypricestudio.ca/research “The world is not what I think but what I live through.” &nbsp; Maurice Merleau Ponty, Phenomenology and Perception Current Areas of Interest: The Live/Living/Lived body as it relates to ideas of CLOTHing Body, Home and Architecture Symmetry, Repetition and Pattern (Collecting) The Live/living/lived body I have a particular interest in the live/living role textiles play on the body and in space. My position is that the phenomenal and the conceptual are intertwined. I did not come at this inquiry head-on, but rather the inquiry found me, insomuch as the essential questions emerged organically over time through the processes of my practice and my teaching. &nbsp; This long term inquiry is reflected in some writing, and many wearable works that I have produced, such as my tribute to my favourite couturier, entitled: “When a Woman Smiles her Dress Should Smile With Her”, a quote from the woman herself. (Image 6) Madeleine Vionnet worked “in the round” directly on a dress-form or a live model. She did not think of clothing as front and back; the idea that forms came OUT of the body, and that these forms should live and breathe as the body does, was an inherent consideration in her designs. As co-organizer of an exhibition of fifty eight haori’s and kimono’s titled, MEISEN: From the Collection of Haruko Watanbe part of the intention was not to present the work only as historical artifacts, but to activate the work on the body and in the space of the gallery.&nbsp; Each model/mannequin chose how they wanted to “dress” themselves.&nbsp; This idea was further reinforced by the presence of the folding station, where the kimono was repeatedly folded and unfolded. The process of folding enables a deeper understanding of the structure and resolve of the garment. In addition to this I am interested in “performing” the garment. Some of my performanative CLOTHings are more abstracted in their forms, but also the most germane to this concept. In the performance, Two Tubes Times Two cloth’s and clothing’s capacity to transform and be transformed was manifested as the wearable form was turned upside-down and inside-out, where subject and object become interchangeable. My primary research (I refer to hands-on learning as Primary research) in draping at La Chambre Syndicale de La Haute Couture Parisienne furthered this investigation aimed at understanding through making, which leads to concepts and departures as an essential mode to learning. &nbsp; Body, Home and Architecture This idea of the lived body by extension leads into another long-term interest, which is the “home”. My exhibition, A Home and Its Owner: A Variety of Arrangements, (Image 11) examined and explored my interest in domestic collections and how we place and arrange things in the home. This included observations of gender-identification in both space and artifact, objects as they relate to identity and place (lobster artifact collection), and the inclusion of other ‘difference’, such as the colloquial and the formal. In his article concerning collecting, Unpacking My Library, Walter Benjamin writes, “Among children, collecting is only one process of renewal; other processes are the painting of objects, the cutting out of figures, the application of decals – the whole range of childlike modes of acquisition, from touching things to giving them names.” When I moved to Nova Scotia twenty-five years ago, I was struck by the breadth and scope of the character, the distinctiveness and the ingenuity (particularly with regard to the re-use of materials), present in traditional regional rug-making (braided, rag, hooked, penny, and tufted). In order to most effectively represent this research interest, and the role and value that I believe research holds in the area of Craft and Education, I would like to illustrate an example of a research project I would love to realize. The overall inquiry and dissemination would fall under the designation: UNDO:&nbsp; Historical Research and Contemporary Applications of Re-pair and Re-use in Textiles. This project would culminate in prototypes for a better economy, creativity, and happiness! Amongst other Domestic-related primary and secondary research I have been involved in is the rich history of Quebec weaving as meticulously described in Oscar Beriau’s book from 1938, published by the Department of Agriculture, Tissage Domestique. Adhering to Beriau’s prescriptive formats, describing in detail the structures, colours, types of yarn, and outcomes (such as “men’s dressing gown”, “living room curtains”, woman’s coat”), I spent hundreds of hours experimentally departing from the expressed variables to create avant-garde wearable pieces, most notably, hats. (Image 15) The traditional notion of the home as a primary place for creative use/production, directly reflects the actual needs of the space and its inhabitants. This presents potential for research in a range of both new and old knowledge sources that might study, test, and create prototypes for a new economy – drawing on the traditions of re-use, while fostering independence, creativity and community capacity.&nbsp; Symmetry and Pattern in Craft and in Nature As a graduate student I designed a course entitled: Repeating Pattern: Repeating Pattern. Embedded in the language of Textiles, in particular, printed textiles, and by extension, wallpaper, is a dialect of symmetry and repetition. This has been explored in every culture, and is particularly relevant to all areas of Craft. These many dialects of symmetry and design originate in and are sourced from patterns that occur in the natural world. This allowed for the phenomenon of disparate cultures simultaneously discovering and developing similar, or related design concepts prior to any physical communication or trade. In both my teaching of Silk-Screen Printing and Repeating Pattern, I have incorporated and applied the principles and mysteries of the “Seventeen Symmetries” as tenets of the curriculum. More recently this research led me to Musee de L’impression Surs Etoffes in Mulhouse, France, and the nearby Musee de Papier Peint, in Rixheim, France to examine first-hand the printed textiles and wallpaper of the French tradition. It is important for students to discover that these kinds of abstract visual languages – often associated with modern geometrical design tendencies – in fact pre-date the modern age, often by several hundred years; also, that weaving code is the foundation of binary digital technology. Concepts such as the grid, cumulation, seriality and repetition are entrenched in textiles. These topics have been adopted by many contemporary visual artists in the 20th and 21st century: I believe this vast subject and its sources deserves a broader investigation in the visual arts . https://nancypricestudio.ca/Teaching-experience-philosophy Tue, 23 Apr 2019 19:44:54 +0000 nancyprice https://nancypricestudio.ca/Teaching-experience-philosophy Teaching Experience Philosophy Short Teaching Description &gt;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; “Aisthitikos is the ancient Greek word for that which is “perceptive by feeling”. Aisthisis is the sensory experience of perception. The original field of aesthetics in not art but reality – corporeal, material, nature. &nbsp;As Terry Eagleton writes: Aesthetics is born as a discourse of the body.” Susan Buck-Morrs Aesthetics and Anesthetics: Walter Benjamin’s Artwork Essay Reconsidered The position that aesthetics is rooted in the corporeal as much as it is in the social is interesting. &nbsp;&nbsp;What do educational institutions which propose to be involved in crafting and art making do?&nbsp;&nbsp;I believe it is our responsibility to not be comfortable with the status quo, but to be open to exploring new paradigms and methodologies. My teaching philosophy is built around three central pillars: Skills Development, Integrated Theory, and Practical Applications/Experience. My post-secondary, University, teaching record attests to my lateral capacity with-in Textiles and Fashion. My regular teaching includes: Silk Screen PrintingTextile Studio (all levels) Repeating Pattern Directed Studio and Independent Studies3D soft formIntroduction to WeavingIntermediate Surface DesignExperimental approach to FashionDraping (Sculpting on the dress form)Hybrid Practice Strategies in Textiles/Fashion Additionally I designed a graduate level class for the Trans-Art Graduate Institute in Berlin, Germany entitled, Identity: A Discourse of Body, Cloth, and Personality. We worked with the notion of aesthetics as a discourse of the body, and the body extended, as in dress, architecture, and material object and performance. I have taught numerous workshops in art galleries, summer schools and other interested venues. This teaching has expanded to include natural dyeing, pattern repeat, reuse/repair, rug making, felting, and screen printing workshops. I take seriously my commitment to communicate the vastness and complexity of textile and clothing’s place in the world. &nbsp;Through the introduction of a wide range of techniques, art/craft/fashion works, historical contexts, crafted artifacts, and theoretical readings, I attempt to provide a multiplicity of entry points. &nbsp; Students may recognize something in these presented variables, which helps them to identify their studio practice, as well as explore their academic and design/craft identity. I tend to “mix it up”, providing a broad context for fashion and textiles. Teaching has been very satisfying, and I am often surprised and excited by the work the students are producing. My extensive record as an instructor indicates that I have an ability to enable and encourage individual expression within the limits and objectives set forth in assignments. I believe both structured limitations and the potential for open-endedness can play a role in providing appropriate challenges for both instructor and students. It is important to consider the role of textiles in socialized spatial environments, their contribution to the formation of individual and social identity, the long standing relationship with binary technology, and textiles’ place with regard to the lived body and body extended. It is important for students to realize their potential, and the question of outcomes is important to consider. As a base-line we need to provide students with sound, discipline-specific understanding of textile and form (clothing) processes,&nbsp; in addition to exploring technological, historical, political and theoretical contexts. Most important is my enthusiasm for, and belief in supporting open studio practice with perspectives drawn from discourses such as the philosophical/aesthetic and personal/social which are implied and revealed through fashion and textile practices. Teaching Textiles and Form within a cultural context is important to me. I appreciate immensely the shared curiosity and engagement generated by the instructor/student experience. It is also rewarding to communicate the impact of working in a creative educational environment which values innovation, intellectual freedom, social responsibility and risk taking, as this feeds back into the animation of my teaching methodology and the fabric of my own art practice. &nbsp;&nbsp; https://nancypricestudio.ca/Short-Teaching-Description Thu, 15 Aug 2019 19:19:16 +0000 nancyprice https://nancypricestudio.ca/Short-Teaching-Description Short Teaching&nbsp; DescriptionTeaching Experience Philosophy &gt; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Since 2000 I have taught numerous&nbsp;Textile/Fashion courses as an adjunct faculty member in the following insititutions: &nbsp;NSCAD University, Canada; Dalhousie Universtiy, Canada; Alberta College of Art and Design, Canada; and the Transart Institute for Creative Research (Graduate), Germany. The breadth of my teaching practice is evidenced by my years of conceiving and delivering a wide variety of curriculum and drawing connections between a diverse mix of processes and ideas. My teaching record and performance is excellent and my student evaluations are consistently high. Courses conceived, developed, and delivered: Repeating Pattern (for artists, designers and textile/wallpaper enthusiasts) Silk-Screen Printing on cloth (I have taught this dozens of times) Intermediate Dye and Print (specialized processes include natural dying, devore, discharge, cloque, and advanced printing and dying techniques) Introduction to Weaving3 Dimensional Soft Forms Experimental Fashion Draping (The Sculpture of Dress)&nbsp; Hybrid Practice Strategies considering the inter-textual nature and possibilities of Textiles/Clothing as it relates to practices of sculpture, photography, performance, dance, filmFoundation Textiles with an emphasis on mobile textile techniques &nbsp;&nbsp; https://nancypricestudio.ca/home Wed, 10 Jul 2019 01:31:40 +0000 nancyprice https://nancypricestudio.ca/home Nancy Price STUDIO ︎ https://nancypricestudio.ca/From-the-collection-of-Haruko-Watanabe-MEISEN Wed, 10 Jul 2019 00:40:41 +0000 nancyprice https://nancypricestudio.ca/From-the-collection-of-Haruko-Watanabe-MEISEN From the collection of Haruko Watanabe:&nbsp; MEISEN ︎ <img width="800" height="917" width_o="800" height_o="917" data-src="https://freight.cargo.site/t/original/i/0a54f29cc7d2c54d6896111eea31fa91b45e83f5ce5fe785f387dd0f2588e86d/Kimono-small_0007_Layer-54.jpg" data-mid="48001189" border="0" src="https://freight.cargo.site/w/800/i/0a54f29cc7d2c54d6896111eea31fa91b45e83f5ce5fe785f387dd0f2588e86d/Kimono-small_0007_Layer-54.jpg" /> <img width="800" height="917" width_o="800" height_o="917" data-src="https://freight.cargo.site/t/original/i/d19f09e8eaacb1bc8b259e1a280dafe697913a8511f6b5d785e49673d14d1640/Kimono-small_0008_Layer-53.jpg" data-mid="48001190" border="0" src="https://freight.cargo.site/w/800/i/d19f09e8eaacb1bc8b259e1a280dafe697913a8511f6b5d785e49673d14d1640/Kimono-small_0008_Layer-53.jpg" /> <img width="800" height="917" width_o="800" height_o="917" 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data-src="https://freight.cargo.site/t/original/i/8d7f3bbe1ea13890615facd270fd48318f8c3d6fc97125f5c03d7b9c80bdecfe/Kimono-small_0055_Layer-2.jpg" data-mid="48001236" border="0" src="https://freight.cargo.site/w/800/i/8d7f3bbe1ea13890615facd270fd48318f8c3d6fc97125f5c03d7b9c80bdecfe/Kimono-small_0055_Layer-2.jpg" /> <img width="800" height="917" width_o="800" height_o="917" data-src="https://freight.cargo.site/t/original/i/049d7012f9cc351ec45586e7082fbd9301c6047e00cb39ce76761a89a8ca4814/Kimono-small_0024_Layer-35.jpg" data-mid="48001290" border="0" src="https://freight.cargo.site/w/800/i/049d7012f9cc351ec45586e7082fbd9301c6047e00cb39ce76761a89a8ca4814/Kimono-small_0024_Layer-35.jpg" /> <img width="800" height="917" width_o="800" height_o="917" data-src="https://freight.cargo.site/t/original/i/f7c401c82106f91f875a20ed35cfc21cceeb84f666df5479d191c717e94467d1/Kimono-small_0043_Layer-15.jpg" data-mid="48001292" border="0" src="https://freight.cargo.site/w/800/i/f7c401c82106f91f875a20ed35cfc21cceeb84f666df5479d191c717e94467d1/Kimono-small_0043_Layer-15.jpg" /> <img width="800" height="917" width_o="800" height_o="917" data-src="https://freight.cargo.site/t/original/i/257c62e83a0469a2c652174c59e6bdb3d841171bc512065e791a8209a43cbf31/Kimono-small_0056_Layer-1.jpg" data-mid="48001237" border="0" src="https://freight.cargo.site/w/800/i/257c62e83a0469a2c652174c59e6bdb3d841171bc512065e791a8209a43cbf31/Kimono-small_0056_Layer-1.jpg" /> <img width="800" height="917" width_o="800" height_o="917" data-src="https://freight.cargo.site/t/original/i/7808a39699c59bf851d8df1b6d1176ce15b67ea6d77d8711be4573cf98aa616b/Kimono-small_0052_Layer-6.jpg" data-mid="47999047" border="0" src="https://freight.cargo.site/w/800/i/7808a39699c59bf851d8df1b6d1176ce15b67ea6d77d8711be4573cf98aa616b/Kimono-small_0052_Layer-6.jpg" /> <img width="800" height="917" width_o="800" height_o="917" data-src="https://freight.cargo.site/t/original/i/fa8badb059b14b8f2a67ce2f843d83144e68646ac2072b16bf31857bc809e85c/Kimono-small_0053_Layer-5.jpg" data-mid="47999048" border="0" src="https://freight.cargo.site/w/800/i/fa8badb059b14b8f2a67ce2f843d83144e68646ac2072b16bf31857bc809e85c/Kimono-small_0053_Layer-5.jpg" /> <img width="800" height="917" width_o="800" height_o="917" data-src="https://freight.cargo.site/t/original/i/a0134240432d51d39b4110902552f06fd6ed5f152cecc207c838aac7b137af43/Kimono-small_0054_Layer-3.jpg" data-mid="47999049" border="0" src="https://freight.cargo.site/w/800/i/a0134240432d51d39b4110902552f06fd6ed5f152cecc207c838aac7b137af43/Kimono-small_0054_Layer-3.jpg" /> <img width="800" height="917" width_o="800" height_o="917" data-src="https://freight.cargo.site/t/original/i/60d8bd906927befa68ecc522a9d939a06235d46278a74c5376c03998d2bd3163/Kimono-small_0055_Layer-2.jpg" data-mid="47999050" border="0" src="https://freight.cargo.site/w/800/i/60d8bd906927befa68ecc522a9d939a06235d46278a74c5376c03998d2bd3163/Kimono-small_0055_Layer-2.jpg" /> <img width="800" height="917" width_o="800" height_o="917" data-src="https://freight.cargo.site/t/original/i/ea46041d373f647db818d26f657ab714e30bb94a48b005af6b0df2bd48cecf7e/Kimono-small_0056_Layer-1.jpg" data-mid="47999051" border="0" src="https://freight.cargo.site/w/800/i/ea46041d373f647db818d26f657ab714e30bb94a48b005af6b0df2bd48cecf7e/Kimono-small_0056_Layer-1.jpg" /> Meisen&nbsp;is a plain weave, hand-printed and woven silk textile, made popular between 1910 and 1950 in Japan. It was worn in kimono or haori form in everyday life by young women who embodied a new world order, marked by a desire for independence, education, and freedom. “ It is also said that woman who needed to look beautiful and stand out wore them, such as actresses, bar hostesses, and stage performers, those who were engaged in the entertainment business.”(1) The patterns found in the Meisen&nbsp;cloth are dazzling, bold, and largely abstract, reflecting the imaginative power in this time of dramatic social change. Most of the garments we see in the gallery were produced between 1930 and 1940 in the Gunma Prefecture of Japan. Nancy Price and Naoko Furue are pleased to present fifty-four of these outstanding pieces from the collection of Haruko Watanabe.&nbsp; (1) Haruko Watanabe Kimono&nbsp;n.a thing to wear The form comes out of the cloth. The kimono form is composed of rectangular surfaces cut selvedge to selvedge (thus creating no wastage), approximately 12 metres in length and 35 to 40 centimeters wide. Two long rectangular surfaces travel up the front and down the back, falling from each shoulder, forming the body of the garment. The sleeves are two panels of the same width sewn to the body at the shoulder. Two half-width panels are added to the front to allow for the crossover at the front. &nbsp;The garment wraps left side over right side and is held by a sash (obi). This transitional garment serves both sexes and is for the most part one size. It adjusts effortlessly in length by pulling and tucking the cloth. The body of the kimono always remains the same, however the sleeve styles change. The kimono is folded and stored in such as way as to occupy a minimal space and lie flat; it is easily deconstructed and reconstructed, and has the capacity to be worn through the course of one’s life. The fabric can be re-dyed to suit the changing age of the wearer.&nbsp; Haruko Watanabe Collects This exhibition is comprised of fifty-four works from the collection of Ms. Watanabe, of Tokyo, Japan. She has collected Japanese, Chinese and European antiquities and vintage items since 1995. Her collections have included potteries, and boro (n.rag), kimono and furoshiki (n.wrapping cloth) Japanese textiles. Over the past six years an aspect of her collection practice has focused on the Meisen kimono. She exhibited her Meisen collection at L’Aiguille en F’ete in Paris, February 2014. She is a councillor at the Iwatate Folk Textile Museum in Tokyo. Ms. Watanabe’s passion is a direct response to the originality of the stunning, daring, and largely abstract compositions found in the Meisencloth. This response occurs in tandem with her interest in modernism and abstraction as seen in a variety of 20thcentury art and craft movements, specifically the Wiener Werkstatte, Russian Constructivism, Cubism, Art Nouveau and Art Deco. Through her research Ms. Watanabe correlates specific stylistic parallels between modern works of art and craft, and the explosion of imageries embedded in the perpendicular woven intersections of the Meisen&nbsp;cloth. &nbsp;In addition to this East/West mix, Ms.Watanabe recognized that other sources for the Meisen&nbsp;visual aesthetic are zoomed-in versions of traditional Japanese patterns such as yabane (plume), sayagata, ryusui (stream), Nami (wave), tsubodare (glaze dripping), karakusa (arabesque), yorokejima (vertical curves). Historical Context In 1854 Japan “opened up” in response to one of several demands from the United States government. &nbsp;This resulted in dramatic changes in the social hierarchy with an aim at modernizing the country. This translated as an economic drive to increase production through industry, moving from an exchange, in-kind society to a cash-based society.&nbsp;At this time, during the Meiji period, silk was Japan’s biggest export. Japan participated in several world expositions: in Vienna 1873, Philadelphia 1876, Paris 1878,1889 and 1890, and Chicago 1893. This led to various East/West intersections and exchanges. The Art Nouveau Movement in Europe and America was highly influenced by this exposure to Eastern aesthetics and subject matter. Art Nouveau now looked to the natural world for inspiration, and the “power of Japanese line, the force of its rhythm and its accents, to arouse and influence us.” (2) The textile artisans lost their samurai based patrons and many of their products were no longer needed. Traditional kimono designs were primarily “ka-cho-fu-getsu” flowers, birds, wind and moon, symbolizing the beauty of nature. &nbsp;In 1885 chemical dying was combined with traditional paste-resist techniques. Kata-yuzen (direct stencil) dyeing was introduced as a new technique. (2) Henry Van de Velde 1910 Japonism in Western Painting from Whistler to Matisse Cambridge University Press Meisen (pronounced, “may-sen”) Meisen&nbsp;silk fabric emerged in the 1880s and really prevailed between 1910 and 1950 in Japan. The Meisentextile was viewed as casual every-day attire, in addition to being fashionable, inexpensive, and durable. Meisen textiles were made from a less expensive pongee (non-continuous single filaments) silk fabric. Kato Jizaemon discovered that by sizing raw, degummed silk threads with soybean milk before dyeing, deeper and more brilliant colors could be obtained. The sizing made the silk more durable. The Meisen silk became bright, colorful, and bold with the use of chemical dyes. &nbsp;For the Meisentechnique, chemical dyes are mixed with rice paste (or another starch-based material) and applied to the surface of the threads. With the Meisentechnique the dye is applied to the warp and/or weft threads prior to weaving, rather than onto the surface of cloth. The threads are put onto a loom and loosely woven with a temporary thread (tane-ito), which holds the threads in place. After transferring this to a print table, chemical dyes are mixed with rice paste and applied with paper stencils, each colour using a different stencil. Then the dyed threads are put on the loom and woven. &nbsp;Because of the weaving process the threads shift and the imagery appears somewhat blurred around the edges similar to kasuri(ikat) technique.&nbsp; Meisenis sometimes classified as a type of kasuriand called kasuri-meisen. Initially only the warp threads were printed but eventually a method for stencil-printing the weft threads (yokoso-kasuri) was developed. &nbsp;Finally it could be applied to both the warp and the weft (heiyo-kasuri). The dramatic expression of these kimonos marked a distinct change. Young women wanted to be seen, rather than blend in. This Meisen&nbsp;technique revolutionized Japanese kimono fashion and was a direct challenge to traditional authority. The modern Japanese women, was interested in freedom and participation in education, culture, paid employment, public life, and citizenship. &nbsp;As in other parts of the world, these courageous women took risks in an effort to change the imbalance of power. https://nancypricestudio.ca/Textile-Printing-Repeat-Pattern-Cloth-ing Tue, 09 Jul 2019 19:43:56 +0000 nancyprice https://nancypricestudio.ca/Textile-Printing-Repeat-Pattern-Cloth-ing Textile Printing, Repeat Pattern &amp; Cloth(ing) I love the graphic imagery found in many historically printed textiles, and the concepts imbedded in repeating patterns. In 2015 I developed a series of digitally printed and hand printed yardages which fell under the title Translation both the title of and theoretical vehicle for the work.&nbsp; The theme for this work drew inspiration from the symmetries and structure of weaving. I am intrigued by the long history (in particular French printed textiles) whereby the imagery found on the printed cloth references and appropriates the structures of woven cloths. In the mid 80’s I produced very time-consuming weave drafts, which were created on large sheets of grid paper, filling in the small squares using a fine paintbrush and india ink. This binary language has existed for thousands of years, and every culture “discovered it”. It is therefore, to some degree, a universal language. I am completely intrigued by these grid drawings as an aesthetic/optical experience, and as a cultural phenomenon. Following this I merged surface prints with garment forms&nbsp;Eighteen years ago I designed a course entitled: Repeating Pattern: Repeating Pattern, I have since taught this course every year. &nbsp;I am pretty certain I have taught Silk Screen Printing and Repeat Pattern more than any other person in Canada teaching today! Embedded in the language of Textiles, in particular, printed textiles, and by extension, wallpaper, is a dialect of symmetry and repetition. This has been a multi decade long research project. The visual, often abstract, language found with-in pattern&nbsp; – frequently associated with modern geometrical design tendencies – in fact pre-dates the modern age, often by many hundreds of years.&nbsp; As a teacher I have always felt the importance of communicating this history, to disrupt the misrepresentation of authorship and “origins”, and to communicate that with-in the various concepts imbedded in weaving is the foundation of binary digital technology. Notions such as the grid, cumulation, seriality and repetition are entrenched in textiles and source of endless fascination for me. https://nancypricestudio.ca/Textile-Printing-green Wed, 14 Aug 2019 01:08:25 +0000 nancyprice https://nancypricestudio.ca/Textile-Printing-green Digital Print Dresses - Dress 1 (Dress 2) (Dress 3)&nbsp; This cotton dresses feature custom digital prints. The template for the garment was based on the OUTlineform. &nbsp;&nbsp; This dress is easily wearable, printed on durable cottons such as lightweight canvas and poplin. There is a pocket, no hardware, and the dress slips over the head with a straightforward waist tie. There is no darting to interrupt the continuous print imagery. <img width="1500" height="895" width_o="1500" height_o="895" data-src="https://freight.cargo.site/t/original/i/66b722bed978925b6b8b50f4386c4dc456874f7dfc83d69c053016ea29ee3a6f/Workdress-green-Philip-Morris.jpg" data-mid="48543859" border="0" src="https://freight.cargo.site/w/1000/i/66b722bed978925b6b8b50f4386c4dc456874f7dfc83d69c053016ea29ee3a6f/Workdress-green-Philip-Morris.jpg" /> My surface design prints reference historical hand-woven structures, and ombre coloured hand-printed wallpapers. These reference and acknowledge the sophisticated development in colouration of 19thcentury (French) ombre prints and irise wallpapers which were arduous and difficult to print and fell out of fashion in the mid 19thcentury likely due to their costliness. <img width="1500" height="2403" width_o="1500" height_o="2403" data-src="https://freight.cargo.site/t/original/i/b49169001521bd39bba8803a84303dc7b62c2c95ba721d4f2e8be6ed58208ee3/greenwhiteblack-002.jpg" data-mid="48543855" border="0" src="https://freight.cargo.site/w/1000/i/b49169001521bd39bba8803a84303dc7b62c2c95ba721d4f2e8be6ed58208ee3/greenwhiteblack-002.jpg" /> <img width="1500" height="2403" width_o="1500" height_o="2403" data-src="https://freight.cargo.site/t/original/i/1cb7ffd3b39b6a2137206a2c6c1f4997d3fbab01e8be835e100c5de09a8a627b/greenwhiteblack-004.jpg" data-mid="48543857" border="0" src="https://freight.cargo.site/w/1000/i/1cb7ffd3b39b6a2137206a2c6c1f4997d3fbab01e8be835e100c5de09a8a627b/greenwhiteblack-004.jpg" /> <img width="1500" height="2403" width_o="1500" height_o="2403" data-src="https://freight.cargo.site/t/original/i/de441d1d5a567221c302be3e6ad621380b5054b6fbea5a5384e6c48ef791feae/greenwhiteblack-003.jpg" data-mid="48543856" border="0" src="https://freight.cargo.site/w/1000/i/de441d1d5a567221c302be3e6ad621380b5054b6fbea5a5384e6c48ef791feae/greenwhiteblack-003.jpg" /><img width="1500" height="2403" width_o="1500" height_o="2403" data-src="https://freight.cargo.site/t/original/i/59967001e01c1cfa6cd8cf111b702818997637e0d114878d290ce6235013c3e4/greenwhiteblack-001.jpg" data-mid="48543854" border="0" src="https://freight.cargo.site/w/1000/i/59967001e01c1cfa6cd8cf111b702818997637e0d114878d290ce6235013c3e4/greenwhiteblack-001.jpg" /> ︎ https://nancypricestudio.ca/Textile-Printing-blue Wed, 14 Aug 2019 13:00:25 +0000 nancyprice https://nancypricestudio.ca/Textile-Printing-blue Dress 2 &nbsp;(Dress 1)&nbsp;(Dress 3) This cotton dresses feature custom digital prints. The template for the garment was based on the OUTlineform. &nbsp; This dress is easily wearable, printed on durable cottons such as lightweight canvas and poplin. There is a pocket, no hardware, and the dress slips over the head with a straightforward waist tie. There is no darting to interrupt the continuous print imagery. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;<img width="1000" height="1060" width_o="1000" height_o="1060" data-src="https://freight.cargo.site/t/original/i/eb1bb62e91e63f93dc42611e9669b810026666d9c64578e24dadba3374f9d178/IMG_1317.JPG" data-mid="48570835" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/eb1bb62e91e63f93dc42611e9669b810026666d9c64578e24dadba3374f9d178/IMG_1317.JPG" /> <img width="1500" height="1092" width_o="1500" height_o="1092" data-src="https://freight.cargo.site/t/original/i/8adce1d96b0fa33702cb129e9ca5214e179f26ae435ee1f5d6bfe462e4ca5d0e/painting-09.jpg" data-mid="48570813" border="0" src="https://freight.cargo.site/w/1000/i/8adce1d96b0fa33702cb129e9ca5214e179f26ae435ee1f5d6bfe462e4ca5d0e/painting-09.jpg" /> <img width="800" height="1224" width_o="800" height_o="1224" data-src="https://freight.cargo.site/t/original/i/6a14429af339f84b7106b0094ae6130e70e58f9265fcdff24d24b1e8f386158a/blue-animation.gif" data-mid="48572595" border="0" src="https://freight.cargo.site/w/800/i/6a14429af339f84b7106b0094ae6130e70e58f9265fcdff24d24b1e8f386158a/blue-animation.gif" /> <img width="1500" height="2250" width_o="1500" height_o="2250" data-src="https://freight.cargo.site/t/original/i/f4a95e0312e6d633f0832cc36f91a990395505015a9f6846bea0ecd7a9afd756/blue-brown-002detail.jpg" data-mid="48570830" border="0" src="https://freight.cargo.site/w/1000/i/f4a95e0312e6d633f0832cc36f91a990395505015a9f6846bea0ecd7a9afd756/blue-brown-002detail.jpg" /> <img width="1500" height="2295" width_o="1500" height_o="2295" data-src="https://freight.cargo.site/t/original/i/2869be335abeb500e93883a9fdf5dc3f45e690935013dfe7e660a613c5922ec8/blue-brown-003-best-02.jpg" data-mid="48570833" border="0" src="https://freight.cargo.site/w/1000/i/2869be335abeb500e93883a9fdf5dc3f45e690935013dfe7e660a613c5922ec8/blue-brown-003-best-02.jpg" /> <img width="1500" height="2295" width_o="1500" height_o="2295" data-src="https://freight.cargo.site/t/original/i/d9c08c18c61403ef4c33b67f138e038be5d7aef2d608c97326a894eb798db40d/blue-brown-003-best-01.jpg" data-mid="48570832" border="0" src="https://freight.cargo.site/w/1000/i/d9c08c18c61403ef4c33b67f138e038be5d7aef2d608c97326a894eb798db40d/blue-brown-003-best-01.jpg" /> &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; ︎