Michael Raedecker “Camouflage” March 18 – April 23, 2016 at GRIMM
A window rendered in gray immediately caught the eye. Reminds you of an icy winter dusk. Yet, it’s welcoming and reassuring comfort. At its back panel was another window this time done in grayish black. The dusk had turned into night. But, these two “regular” paintings are just preparations. For?
At the near left, a potted palm curtained in gray and dotted with several wine bottles. On the middle wall, another potted plant again in swatches of gray fabric all sticthed delicately onto an old rose canvass. Then, more potted house plants with looser gray curtains. The fabrics have some touch of the batik style.
To stitch or to embroider is an arduous process. Light, skillful hands are needed to pull the threads. Not tight, not loose but just so. For the creation to be perfect.
Come more grays in the form of woven fake fur cut-out precisely into a chair. A bigger and higher frame of this gray fake fur material was scissored and trimmed into seven waiting room chairs. Aptly, a cobweb image was not overlook. It was the most natural object you could expect for this gray fake fur medium. There was no spider in sight, though.
From afar, these frames look solid and heavy, as to quote the exhibit flyer written by Tom Morton, “chiseled from concrete.” Do go closer, and it is of course soft and light. Yet, arresting.
By the end corner of the room, something other than the color gray came into view. Patterned in smaller leaves, the swatches of fabrics are embroidered on soaked dark green canvass. It looked new, fresh and alive. That summer has arrived.
Raedecker’s chosen mediums are demanding and time consuming. You could almost grasp the sentiments of labor in his embroidery, his weaving and trimming. His objects had ceased to be ordinary. They had been chosen. To be seen closer. For an aesthetic rush.
“Camouflage” has blended well to its surrounding. ==<==<@
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