Cube 37 - Glass Cube Gallery
Tuesday 26 November to Sunday 16 February
View 24/7 from the street front | Free Entry
Emerging local artist Jacqueline Stojanović approaches the legacy of the Bauhaus from a weaver's perspective, highlighting the raw qualities of industrial materials. This project is presented as part of McClelland Sculpture Park and Gallery’s Haus Werk exhibition.
Jacqueline Stojanović is a Melbourne based artist and weaver with a polymathic practice encompassing textiles, drawing, photography and installation.
Foregrounding an interest in the history of the handmade, her practice examines the geographic iterations of early art forms, paying particular attention to symbol, motif and the underlying feminine qualities early crafts have in production and metaphor. Taking a position that weaving is an ancient carrier of culture, Jacqueline continues the practice of tapestry within a contemporary framework, looking to the past in order to navigate the rapid social changes we’re experiencing in western cultures.
Through these varied modes of expression her ideas sit on the cusp of past and present cultural narratives, concerned with either upholding traditions and/or the consequences of letting them die. Jacqueline’s influences are innately pinned to her own cultural identity, being a first generation Australian of Serbian and Vietnamese parentage. Her work therefore pivots from place to place with architecture, language, food, and folklore being references that appear throughout her practice.
Jacqueline completed a Bachelor of Fine Arts from Monash University and BFA (Honours) from the Victorian College of the Arts, Australia. She has since exhibited in various solo and group shows in Australia and Europe.
My tapestries are informed by a two year long research period from 2016-2018 spent in the Caucasus, the Middle East and Europe. Over the two year long journey I followed the trade route of traditional carpets from the Caucasus where the craft historically originated, to south-central Europe, learning about the history of carpets, tapestry making, and the artform’s geographical distinctions. I gained notable insight in the varying production methods of traditional carpets in the Armenian Carpet Factory in Yerevan, Armenia, Damsko Srce in Pirot, Serbia, and the Icelandic Textile Centre in Blonduos, Iceland, where I was an artist in residence during 2017. However, having spent most of this time in Germany and Serbia, my work became heavily informed by the theories behind the women’s Bauhaus weaving workshop, along with the socialist architecture of the Balkan region; both movements which carried utopian like ideals at the height of their prominence.
The title of my tapestry, Blokovi, is the Serbian word pertaining to the socialist style apartment blocks in the region. The tapestry is an abstraction on the blocks forms, colours and geometric structure, exposing the innate geometry of the weaver’s loom. Both the Bauhaus and the Socialist architectural movements in then Yugoslavia, championed the use of industrial materials, an exposure of their raw qualities, and an equilibrium of functionality and aesthetic design. To reference such buildings through tapestry blurs the binaries inherent in hard and soft forms, gendered materials, and the socialist lifestyle experienced through architecture with the traditionally social activity of weaving.
Image: Jacqueline Stojanović Soft grid 2019 (detail) wool on metal 61 x 46 cm
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