spindle’s work, Zellandine’s denouement (part 1)

The spindle’s work, Zellandine’s denouement series explores these meta-narratives via the hand-spinning of fiber into yarn and the act of crocheting/knitting that fiber–acts that are traditionally considered “Women’s Work”–with other materials to comment and extend on the placement of women in these stories and the (re-) negotiation of gender paradigms that (can) occur in fairytale meta-narratives.

NEW PIECE!


S.G. Dagon
2013
mixed media, handspun art yarn, paint on board
Katrina (‘Trie) Blasingame

This is a guided tour of my show at NorthCoast Gallery (in NorthCoast Productions) on display from February 7-March 31, 2013.

The Year of the Snake
2013
handspun yarn, commercial yarn, copper wire, jewelry wire, dryer tubing, spray paint, nylong cording, fabric
Katrina (‘Trie) Blasingame

The Eater of Worlds
2013
handspun yarn (from a Hello Purl art batt), paint, copper, fishing line
Katrina (‘Trie) Blasingame

headcanon:  So, there are a bunch of references going on in this dealy-bop:  Cronenberg, Lovecraft and eldritchian tendencies, body horror, vagina dentata, the Uncanny, the grotesque, Necromongersthe Naradastarfish, and octopodes.

But the title is a reference to Galactus, Eater of Worlds.

…and maybe a touch of the Shadows from Babylon 5.

So, basically, The Eater of Worlds is really about those things that consume and are consumed–literally and metaphorically–and the monstrously beautiful things doing that consuming/being consumed.  Hence, all of those references mentioned above.

fairy forest
2012
handspun yarn from a Hello Purl art batt, commercial
acrylic yarn, fairylights

headcanon:  Fairytales are always about that which is seen and unseen, that which can become manifest with just the right circumstance, just the right nudge.  fairy forest works with that idea and illustrates it through the change that the piece undertakes via the absence and presence of light, both exterior and interior.

Kore-Persephone
2012
hand-dyed and handspun merino and silk art yarn, plastic-coated electronics wire, copper wire, cold-forged copper
Katrina (‘Trie) Blasingame

headcanon:  For me, the story of Kore-Persephone is the origin site of all fairytales, is the discursive space in which we can see how all the strength of the feminine was appropriated, changed, and buried by the assertion of masculine whims:  Persephone’s original Minion ferocity subsumed and subordinated by Doric invasion and assimilation.  The story of Kore-Persephone, as we know it now, is the story of most fairytales with its juxtaposition of opposites that really aren’t opposites and transformations that really aren’t transformations:  death stealing life and life changing death; shy maiden to powerful queen; cruelty begetting mercy; the conquered becoming the conqueror.

Artemis of Ephesus
2012
hand-dyed and handspun merino and silk art yarn, copper wire
Katrina (‘Trie) Blasingame

The Wolf-Prince
2012
handspun east feresian wool plied with commercial lattice yarn, plastic-coated electronics wire, domestic wool, teal angelina
Katrina (‘Trie) Blasingame

headcanon:  The Wolf-Prince references the ubiquitous “wolf” (i.e., beast-form) characters in fairytales as well as placing the idea of idealized “prince” into question.  Additionally, The Wolf-Prince references a number of characters from visual culture:  Oz from Buffy the Vampire Slayer, Rory from Doctor Who, Derek Hale from Teen Wolf, anything and everything from Game of Thrones, and so on.  By referencing these vastly different characters in difference ways, the paradigm of the beast and the prince is problematized.

Imperatrix
2012
handspun art yarn from a Hello Purl art batt plied with commercial acrylic yarn, stainless steel wire, hand-cast cotton paper, glass beads, spray paint
Katrina (‘Trie) Blasingame

Grey Havens
2012
domestic wool and teal angelina, stainless steel wire
Katrina (‘Trie) Blasingame

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