Stephen Sollins
May 18th, 2010 | home, vintage, textiles, designPart of me is pained by the work of Sollins because he removes needlework from existing vintage pieces. But he does so while counting the stitches by colour, and then reworks the canvas with exactly the same number of stitches that were used previously, but in a modernist, minimal grid. The dominant color (by quantity) is always placed at the upper right of the grid with the square size descending from right to left.
I have to admit that I really like the effect.
(via here)
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May 24th, 2010 at 7:23 am
oh ouch. yeah it’s a nice effect, but sort of like looking at someone’s “awesome remodel” where they ripped out 50s pine cabinets and put up ikea. yeah pine may not be your style, but still…
May 24th, 2010 at 12:02 pm
that’s a very good way to put it.
christie
July 9th, 2010 at 4:39 pm
Except you still get to see the ghost notes from the ‘pine cabinets’ under the superimposed ‘modernized’ image. I saw his work several times at Mitchell Inness Nash in NYC. Not cold like most intellectual art. I never had the impression from the two or three shows that I saw that he was making ‘widgets’. Not sure how often you can say that in today’s Art World.
Cheers,
Ed
July 11th, 2010 at 6:01 pm
Ed- quite right. There is still a certain warmth and charming quality to the pieces despite their minimalist reworking which is why I like them.
-Christie