|The Last Supper, detail, Carmelo Arnoldin|
|The Last Supper, Carmelo Arnoldin|
The work "draws on traditions such as religious painting, Roman mosaics and Dutch vanitas -- and their enduring themes of devotion, desire and death -- to reflect on the state of vice and virtue in contemporary life."
Arnoldin has exhibited his work worldwide, and has been a professor in the Art and Art History program at Sheridan College in Oakville and the University of Toronto at Mississauga since 1987.
|Grey and White Grid, Natasha Gouveia|
Another work with not a trace of fibre or thread is this painting by Ontario artist Natasha Gouveia. (Except, of course, that it is painted on a stretched canvas.) It was part of The Red and the Black exhibit in the Gallery of the Queen Elizabeth Park Community and Cultural Centre, curated by Gareth Bate. The photo does not do justice to the subtlety and complexity of the work, which seems to have been created by using drywall tape as a stencil. Again, though not made of cloth, it references cloth because of its texture.
|Grey and White Grid, detail, Natasha Gouveia|
I think that this blurring of boundaries is a positive development, asking both makers and viewers to question the nature of fibre art and its place in the contemporary art scene. It is also consistent with the approach taken by university-level Fine Arts programs, many of which now have entire departments devoted to "Fibre and Materials Practice".