|Water Tower #1|
Shanna, Felicia and I had an interesting conversation at the opening. We talked about the feminist aspect of artists working in fibre, and I was pleased that Felicia's article in The Review touched on this element of my work.
Here are some excerpts from the article, published on July 2, 2014.
"[The exhibition] features a collection of urban landscapes rendered in black thread, colourful dyed fabrics, and the undercurrents of feminist history."
"At the exhibition's opening..., the Review was able to speak with the artist and learn more about the larger statements in her work."
|Water Tower #3|
"Shanna Steals, a University of Ottawa art graduate and curator of Cityscapes, describes Dubreuil's work as showing 'modern perspectives of repetitive architecture but through the lens of a long tradition of women's work, stitching.'"
In fact, my artist statement refers to this aspect of my work. It reads, in part,
"I see my work in cloth and stitch as a contemporary expression of the culture of women's needlework."
|Water Tower #4|
Is there a feminist element in all fibre art?
If so, does this apply to female fibre artists only, or also to those (rare) men working in the medium?
Or is the feminist perspective brought to the work by the viewer?
Would this perspective be welcomed by all those working in the medium? Or would some resent that label, and ask why a woman cannot make art in cloth (or any other medium) without having it identified as a feminist statement?
What do you think?
|Water Tower #7|
Something else to think about: If you were asked to choose a piece of music that would illuminate your work, what might you choose?
Felicia asked me this very question, because she plans a musical introduction to our radio interview.
I chose Gershwin's Rhapsody in Blue.
What would you choose?