Dominie Nash and Haunting Studies of a Dying Leaf

Illustration: Dominie Nash. Big Leaf Impromptu #8, 2008.

The Big Leaf series of textile art pieces by the artist Dominie Nash allows us to see both the robustness of the natural world along with the delicate and transient character that we often associate with particular aspects of nature. Leaves seem especially poignant to us with their ability to haunt us with ideas about decay and death. However, leaves should also be seen as an aspect of the cycle of life, dropped leaves in autumn only showing us part of that cycle.

Illustration: Dominie Nash. Big Leaf Impromptu #9, 2008.

Nash may well have been initially inspired to produce a series of textile art pieces using the construction, both delicate and robust, of a leaf, however the sequence of compositions that she has produced go a long way past any mere observational interest or aspect. These pieces have taken the most important features of the leaf from its complex colour tones to the emulation of the skeletal structure of the leaf through the use of hand stitching. All are portrayed within compositions that cover two very different aspects of fine art. On the one hand, is the analytical, almost medical approach to the anatomy of the leaf. Through that detailed analysis, comes an understanding of the anatomy of nature itself. However, another important aspect that Nash includes in all her work is the creative and inspirational character that underlies all of her work. The artist has an intrinsic understanding of colour tone and texture, which she uses with the confidence of compositional arrangement.

Illustration: Dominie Nash. Big Leaf Series #15, 2008.

To bring together the analytical, observational, compositional and creative features of her work while using the often difficult format of textiles, is a feat that Nash has managed to pull off. With these fascinating and at the same time haunting contained studies of both the dying leaf and the larger cycle of nature, the artist has managed to create for us a multi-focused compiled survey of the ever changing environment around us. In some respects, it is similar to one person stopping a moment in life's busy schedule, stooping down and picking a dead leaf up from the ground. That is the job of the creative, to allow us to observe a moment in time that they themselves have captured.

Illustration: Dominie Nash. Big Leaf Series #16, 2008.

Dominie Nash has exhibited her work across the US, as well as in the UK. She has a comprehensive website where much more of her work can be found. The link to her site is as always, in the reference links section below.

Illustration: Dominie Nash. Big Leaf Series #17, 2008.

All images are used with the kind permission of the artist.

Reference links:

Dominie Nash website

Brenda H Smith and the Strata of Landscape

Illustration: Brenda H Smith. Strata 3, 2006.

The textile artwork of Brenda H Smith deals largely with the landscape settings and environment of her native northern Arizona. Through a system of colour tones, textures and pattern, she is able to breathe life into the textile medium that she uses, infusing it with the in-depth characterizations of the environment that she experiences around her.

Illustration: Brenda H Smith. Betatakin, 2007.

One of the themes of Smith's work and the one I have chosen to highlight in this article, is that of geology. However, to be more specific, it is the layering of strata that the artist incorporates so effectively into her work. That is the process whereby different coloured and textured layers of silt, sand and mud are set down on top of each other over a time period that is so vast that it belittles our four million years or so on the surface of the planet. It is the geological map of the history of the planet, as well as the contours and undulations that that history has placed on the present landscape, which gives Smith the inspiration for these particular art pieces.

Following the contours of the history of the land as well as the contours of the present environment, has allowed Smith to produce compositional pieces that can engender a multiple and indefinite number of scenarios in both colour and texture. Her work can be seen as a study of the long history of the planet and how its very nature impinges, or even complements our contemporary world. However, it can equally be seen as a grand celebration of colour and texture for its own right.

Illustration: Brenda H Smith. Strata 7, 2008.

It is a joy to see so many earth tones and natural textures within the same compositional series. The geological landscape has infinite variations and that variety can sometimes be overpowering in its complexity. However, Smith takes each and every layer and gives it a separate but conjoined identity, so that each strata can be experienced as a unique lesson in colour and texture, while adding to the compositional identity of both the subject and its artistic and creative result.

Illustration: Brenda H Smith. Strata 8, 2008.

Brenda Smith has exhibited her work throughout the US, as well as having her work published in various periodicals. She has a comprehensive website where much more of her work can be seen. The link to this site can be found below in the usual Reference links section.

All images were used with the kind permission of the artist.

Reference links:
Brenda H Smith website

Terry Jarrard-Dimond and the Art of Spatial Awareness

Illustration: Terry Jarrard-Dimond. Crush.

The work of textile artist Terry Jarrard-Dimond is one of precision both in colour and in line. It is not surprising to learn that the artist worked 3-dimensionally as a sculptor for many years before coming to textiles, as these five pieces by the artist shows. Each composition has a level of understanding and consideration for real penetration of the surface level, giving a natural feeling of depth rather than that of a superficial and stylised interpretation of 3-dimensions. It is fair to say that a creative artist with sculptural experience has a better understanding of spatial awareness and an intrinsic feel for dimensions and planes.

Illustration: Terry Jarrard-Dimond. Little King.

Jarrard-Dimond does not clutter her compositions with any unnecessary creative 'furniture', but keeps the work simple with shapes, colours and textures all adding their own significant contribution towards the overall composition. Rather than fill the space with a number of small elements in order to catch the eye, the artist has led with a series of large and simple incursions, many often sliding into the composition from an area outside of view.

In a number of pieces, colours and shapes have been dramatically reduced to a minimum and are often limited to two or three. However, instead of giving the compositions a near monochromatic appearance, or producing little for the eye and imagination to grasp hold of, she instead produces a highly powerful focus, creating a genuine feeling towards the macro, rather than the micro. Everything appears to be on a large and open scale, leading to a composition that is intriguing to both eye and imagination.

Illustration: Terry Jarrard-Dimond. Behind the Veil.

Jarrard-Dimond is open-ended within her own personal interpretation of the origins of her work. She states that each composition could be triggered by an initial response to a creative colour, song, or word, but equally the trigger could be something that catches her eye through everyday living. This open-ended approach also encompasses the viewer who the artist invites to make a personal interpretive contribution.

This invitation to personally explore Jarrard-Dimond's work cannot fail to produce suggestions and interpretations that are unique to the individual. However, the work can also be enjoyed on a number of levels from the enjoyment of surface qualities of abstract colour, form and texture, to that of a much more emotional level, where shapes, planes and dimensional depths can be explored. The choice as far as the artist is concerned, is with the individual.

Illustration: Terry Jarrard-Dimond. Quietly Red.

Terry Jarrard-Dimond has a comprehensive website where much more of her work is available to view. She also has a number of exhibitions and workshops available for both 2010 and 2011. To follow the creative pathways of the artist it would be wise to take a look at her regularly updated blog where links can also be found to a number of interesting and related sites. Both links to website and blog can be found below in the reference links section.

Illustration: Terry Jarrard-Dimond. The Encounter.

All images are reproduced with the kind permission of the artist.

Reference links:

Terry Jarrard-Dimond website 

Terry Jarrard-Dimond blog