Jenine Shereos’ Creates Beautifully Intricate Spiderwebs Out Of Lace

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Boston-based artist Jenine Shereos who we’ve featured in the past for her amazing series of leaves made from human hair.  her amazing series of leaf forms made from human hair. Her more recent work revisits the idea of human-manipulated nature with “De/constructed Lace,” a site-specific installation series of knit-lace that mimics spiderwebs.

In Marnay-Sur-Seine, France she draped the knit threads in windows and doorways, looking like massive, delicate spiderwebs, echoing the white lace curtains in many local homes. The works are not perfect, Charlotte’s Web creations, but looser, more organic forms. Shereos says on her website:

“This installation of knit-lace is suspended in a state of unraveling. The process of its making and unmaking are one and the same.”

In Boston, she worked with black thread and crystals, allowing her web-like art to cast filigreed shadows on the wall amid flickering rainbows from the hanging crystal. The webs are more ominous in black, connecting to walls and windows and floor with fine strands.

“Some of these site-specific works are installed for a period of weeks for viewers to interact with, and others function as a sort of ephemeral, private performance existing afterwards in documentation. Oftentimes, collaborations intended or unintended arise within the environment; a spider spins its delicate webs from the white strands of thread suspended in an unraveling knit curtain, fibrous fragments of seaweed become embedded within a structure of knit fibers, or an array of rainbows flicker amidst white walls and black curtains.”

By co-opting the aesthetics of the natural world, Shereos creates a conscious interaction with the structure of the landscape or the architecture surrounding her art, uniting real and surreal, natural and constructed, fluidity and stillness.

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Jen Pack’s Fabric-On-Frame Installations

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Interesting and illusionistic, artist Jen Pack‘s fiber-on-frame works take on elements of both painting and weaving. After spinning and stitching together colorful compositions of thread, chiffon & cotton, she stretches out the works on a wooden frame like a canvas, paying attention to the way the colors and textures interact on the wall. Her interest in abstraction and slightly meditative clustering or patterning of materials give the works a dreamy effortlessness, and they exist as a space for the viewer to step in and lose themselves in the reverie of observation.

From afar, the works feel bold—even slightly aggressive—but upon further inspection, each piece reveals a soft, extremely fragile surface quality, complete with tiny, wild threads left to catch in the breeze. The duality is pleasing, and Pack’s finishing of the pieces leave the fragments of fabric interacting like paint on panel, illuminated from within by meticulous layering and draping of translucent materials.

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