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‘UNSPUN: tangled and fused’

(Caption applies to images 1-3) In Knots' is an amplified, textural soft wall of knotted intersections creating an impassable and enlivened structure of sculptural depth and tactility. Dana-Barnes-In-Knots-Fiber-Wall-Hanging3 Dana-Barnes-In-Knots-Fiber-Wall-Hanging2 (Caption applies to images 4 and 5) The ceiling installation 'Tangled'  drapes into a fibrous intertwinement of knots, twists and turns mimicking knobby aged trees; an intention to integrate nature indoors and offer contrast to an austere and utilitarian space Dana-Barnes-Tangled-Fiber-Installation6 (Caption applies to images 6 and 7) The 'Grazed' floor piece and 'Knoll' pouf introduces a modernized twist to traditional rug braiding.  The muted hues and amorphous shape reflect the pastoral rolling hills and meadows of the countryside and evoke an organic stillness. Dana-Barnes-Knoll-Felted-Pouf2 (Caption applies to images 8 and 9) Found objects permeate the work: tractor tire, inner tube, but rather than making them precious, their humble object-ness is preserved. Dana-Barnes-Felted-Object-Tube3 Influenced by the art craft of classic maritime culture,  the 'Rigger's Knot' is made of hand twisted multiple fibers matted and felted to structure a dense rope that is manipulated into a hearty form.  Resembling a basic camp craft project, the idea is modernized and refined; the complexities of its construction disguised.

(Note: We submitted 10 images with captions to the email address submissions@mocoloco.com on November 10th. We thought it best to send through the email address because there were a few images that related back to a single caption. We have uploaded the info again in case you did not receive them ….if you did, our apologies for the duplication.)

Textile Art Objects

‘UNSPUN: tangled and fused’ is the newest body of work from textile artist Dana Barnes. Pulling from ancient techniques including knotting, netting, tying, twisting, and looping, all pieces are composed of natural unspun fibers bonded together by specially developed felting processes.

Recalling the front porch vistas of her childhood, Barnes’ large scale pieces suggest thick crop fields, rolled bales of hay, grazed hills and meadows, Spanish moss and gnarled tree trunks. Reconnecting with a rural surrounding and its inherent meditation on nature, the works are re-contextualized for a modern urban setting.

The fiber works that exude qualities of tactility, texture, and flexibility, offer a counterbalance to the uncompromising characteristics of building materials commonly used in modern architecture. The warming qualities and organic muted hues of the sculptural hand felted pieces lend calm to the spaces they occupy.

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