http://iloveenglish.mixseller.com/72-chloroquine-vs-zithromax.php I found myself in Northern Thailand weaving a basket with freshly cut bamboo, and realized that for the first time in my life I was weaving a Chitimacha basket, using the same source material from my Native family, but in another continent. Whilst conceiving this exhibition Sense discovered that her Chitimacha ancestors were taken as slaves by the French, who transported captive Indians to colonies in the Caribbean.
This reverse trade route was all but absent from the story of slavery until researched and documented in the film Written out of History and the book Native American Adoption, Captivity and Slavery in Changing Contexts edited by Max Carocci. Contextual and supporting material by Max Carocci will be presented alongside the work of the artist.
Welcome to Weaving Water, a collaborative neighborhood built on the foundation of multi-generational community and connection with the natural world. Private homes (in Weaving Water's case, beautifully and thoughtfully designed homes of - square foot each), each with its own kitchen. Community.
WEAVING WATER is a multifaceted story of forced and voluntary migration, the creative journey of an artist, her enslaved tribal ancestors and all those who travel by water and ultimately discover the source of their identity, culture and creativity. Through photographic processes, digital manipulations, cut paper and manual weaving, I had taught myself how to carry on a traditional form of weaving from my Chitimacha family.
The weaving brought me into a life of meeting and knowing other traditional artists practicing in a variety of mediums and concepts. As my curiosity grew from North America into Latin America, I reached out to artists in their communities by traveling to them so that I may learn of their art and purpose for creation. Over recorded video interviews I heard the answers to the same questions repeating purpose from North, Central and South America.
In the theme of traveling to understand traditional art forms and purposes, I have continued the research. Through this process, a deeper understanding of the search has been lifted from the masked source material, unveiling the source as the purpose. As the first journey came to an end, I felt closer to the natural environment. I realized that Earth and I breathed the same breath and our hearts beat to the same pulse.
It had become a transformative learning experience that brought me to being most comfortable when I was traveling and meeting new countries and other cultures to further prove this new idea that had filled my head and entered my weaving. I began to take interest in islands and the small plots of earth surrounded by water, and the ways which migration of culture moved by canoe and later by boats. The jarring clash of America with Asia was initially painfully confusing and had my head spinning in an unpredictable way.
I entered the twenty-seventh country in twenty-four months while in Asia and then realized that I had completely lost touch with any definition of self that had been labeled by society or personal beliefs that I once felt in my core. I found myself in Northern Thailand weaving a basket with freshly cut bamboo, and realized that for the first time in my life I was weaving a Chitimacha basket with the same source material from my Native family, but in another continent. I thought of the river cane from my reservation in Louisiana and was filled with a blank mind. Within the Chitimacha tribe, different patterns mean different things.
This is in terms of both the media she uses and the history she draws upon. She connects with the ancient, oral tribal tradition, and adds photography, a medium very much associated with technological advancement and the rise of modernism. These themes, forms and media echo and mirror each other.
The photographs are composite and there are several horizon lines in each piece. Sense merges landscapes from different points on her travels, which gestures towards the idea that a memory or journey is never static or monolithic, rather it is always a compilation of different angles, viewpoints and places. She is adding herself into the journey, into the history of her ancestral tribe as well as into many different locations around the world.
Her work explores existing connections between cultures and makes new ones. This is also encapsulated in the detailed and thoughtful way she has sourced and located her media. For example, she bought — and even helped make — some of her paper from Thailand, and had the photographs printed in another country. The different viewpoints and landscapes within each piece show several sources of light, such as from the sun and moon. The notions of weaving and migrating definitely lend themselves to being thought about in terms of water, where migrating people travel through the ocean and respond to the ebb and flow of tides.
The movement of water is particularly apt as a symbolic force that carves paths, connects landmasses, and shapes landscapes. Sense uses weave patterns as both distinguished and fully formed shapes and as looser, fragmented forms.
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This suggests on one hand the dissolution of culture and craft, as well as a sense of it having permanence in Native American culture. In this way, the varying weave patterns combine different states of being.
Weaving patterns are fundamentally caught up in the creation of identity. Spiral shapes are dominant. For the Chitimacha tribe, they symbolise outward movement and growth, beginning with the origin of ancestors and spiraling out into the future generations. Circles are also a repeated shape, which relate to the moon and indicate that no matter where you are in the world you can still look up and see the same moon.
Positive connections, rather than dissolutions, are what Sense ultimately draws upon. These framed pieces of work are set against backdrops of bold wallpaper to create an installation that fills the whole of the space. Each wall is different; the back wall is covered in an assortment of English trees, while the large adjacent wall has a more abstract French patterning. Sense thought the pixilated pattern of the French-looking wallpaper was very reminiscent of the weaving patterns of her Native American tribe.
Another example of the continual overlaps and connections made within her work. The bold wallpaper almost seems to engulf and overwhelm the artwork.
The political analogy is obvious. Long strands of found maps which Sense collected during her time in Bristol are spread across the wallpaper, adding a third dimension to this installation.
The maps suggest the spreading out of people through the process of migration, as well as the enveloping conquest of colonial nations. It also shows the way Native Americans were scattered across the globe. Sense admits herself that her work is very conceptual.