Interwoven: Joan Snyder, Judy Ledgerwood, Crystal Gregory
Interwoven brings together a trio of artists who make work deeply informed by feminism through their embrace of personal narratives, symbols, and choice of motifs.
They share an interest in varied texture, a dynamic use of color and gesture, and material and process.
A groundbreaker in the feminist art movement of the 1960s and ’70s, Joan Snyder has invented a personal iconography that draws on her deep connection to nature and examines themes of love, mortality, family, and work. Her explorations often seem to be written on landscapes in which she incorporates textural objects such as twigs, dried rosebuds, or pieces of burlap. Sometimes, as in the monoprint Untitled Journey or the painting Still, she includes a phrase or single word that repeats and echoes. Her application of paint varies between juicy drips and thick impasto.
Judy Ledgerwood’s canvases mine ornamental and craft traditions, while also exploring formal concerns. She deliberately chooses to portray objects historically associated with women, but renders them in metallic paints and vivid hues, suggesting feminine power and sexuality. She plays with the stylized quatrefoil shapes of flowers, sometimes rendering them as outlines, adding rich ornamentation, or allowing the forms to swell into new shapes. In Grandma’s Flower Garden, they are incorporated in a painting of a quilt that
appears to sag under its own weight.
Crystal Gregory, assistant professor in fiber arts in the UK School of Art and Visual Studies, ‘paints’ with textiles that she has designed and woven using traditional techniques, and then embeds in concrete to produce a flat rectangular surface. Folding and manipulating the weaving, combinations of color, structure and line, she plays with expectations for her materials eliding delicacy and strength. In Portrait Series: Together, she allows fringes to hang down from the rectangular construction, like paint running down a canvas.
Interwoven unites three powerful artists who reclaim symbols, subject matter, and art forms once dismissed for being too personal or feminine, and build new artistic traditions.
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Judy Ledgerwood, Pretty Monster, 2015, oil and metallic oil on canvas. Courtesy of Tracy Williams Ltd. NYC.
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