During the eight weeks of 'simply irRESISTible' we'll focus on individual artists here on our blog. Every week, three artists will be featured. Today, we're pleased to introduce to you: Leslie Sudock from Philadelphia, PA.
Arashi Vessel #1About the piece: Arashi Vessel #1 is the first in a series of experiments, both in knitting and resist dyeing. I knit the vessel using 28-gauge bare copper wire with nearly a dozen 5” double point needles. The vessel was then subjected to two sessions with non-ferrous metal patina dyes. Traditional Japanese Arashi resist technique consists of wrapping, compressing and tying cotton fabric around a large pole before dyeing. The tight wrapping with string produces the wonderful striation that characterizes Arashi textiles. I applied this process to my knitted vessel to the extent possible: the vessel was twice compressed and bound with thick cotton cord before being “dyed” with special metal patina solutions. The technique produced subtle creases and colored layers and converted the copper knitted jug to a geological structure that gently resists its origins.
Arashi Vessel #1, detail
Arashi Vessel #1, top, detailArtist Statement/Biography: Needlework of one kind or another has been a part of my life since early childhood: my grandmother taught me to crochet and sew on her treadle machine in the cellar, and a kind neighbor gave me my first pair of knitting needles to ease me through illness when my parents were on holiday. Since then, my hands have been perpetually engaged with making. Indeed, the collection of afghans, quilts, sweaters and vests stacked in my closets and drawers map my journey through high school (with special permission from teachers and principal), university, graduate and law school; my life as a young mother was charted by caps, booties, mittens, scarves and cardigans.
I have always been fascinated by the fibers, techniques and structures of knitting; Scandinavian stranded color work sweaters in 9th grade history class, intricate Aran pullovers in Philosophy seminars, and complex mohair lace vests in Constitutional Law lectures. So I suppose it was natural enough when - after an extended foray into the three-dimensional world of sock and felted shoes - my work turned sculptural.
The discovery of knittable copper wire a few years ago has enabled me to explore the intersection of knitted textiles and vessel forms. I've decided I must have been a potter in a previous life. A recent opportunity to study traditional Japanese shibori resist techniques in Massachusettes, and some unexpected conversations with an open-minded master blacksmith in North Carolina, has enabled me to test the limits of my needles.
I have always been fascinated by the fibers, techniques and structures of knitting; Scandinavian stranded color work sweaters in 9th grade history class, intricate Aran pullovers in Philosophy seminars, and complex mohair lace vests in Constitutional Law lectures. So I suppose it was natural enough when - after an extended foray into the three-dimensional world of sock and felted shoes - my work turned sculptural.
The discovery of knittable copper wire a few years ago has enabled me to explore the intersection of knitted textiles and vessel forms. I've decided I must have been a potter in a previous life. A recent opportunity to study traditional Japanese shibori resist techniques in Massachusettes, and some unexpected conversations with an open-minded master blacksmith in North Carolina, has enabled me to test the limits of my needles.
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