Tschabalala Self
Tschabalala Self 的官方网站汇集作品、项目、展览与艺术家资料。
从布料、线、刺绣与植物般的形态,走向绘画、雕塑和装置。
纤维并不对应一种固定的视觉语言。缝合的表面可以构成人物,包裹可以承载迁移记忆,悬垂的材料也能改变一个空间的观看方式。本页连接 Tschabalala Self、Cecilia Vicuña、Kimsooja、Tiffany Chung 与 Nnenna Okore,各自围绕身体、记忆、地方和材料转化展开不同的问题。可以先关注制作动作:缝、结、包裹或拆解,再看作品的尺度与所处空间。这样的阅读能帮助我们区分材料的物理特征与它在具体创作中获得的含义。
Tschabalala Self 的官方网站汇集作品、项目、展览与艺术家资料。
Cecilia Vicuña 的官方网站汇集作品、项目、展览与艺术家资料。
Tiffany Chung turns historical and geographical research into maps, embroidery, sculpture, video and other material forms. Her projects follow displacement, migration and the ways political and environmental forces reshape places over time. The Syria Project, presented in the 2015 Venice Biennale, used map-based drawings to trace cycles of conflict and movement. Vietnam, Past Is Prologue at the Smithsonian American Art Museum in 2019 developed a sustained inquiry into the war in Vietnam and its aftermath. Her biography also records the co-founding of Sàn Art in Ho Chi Minh City. These connections make her work valuable for readers interested in how a map can become an account of lived history rather than simply a diagram of territory. Compare the visual precision of individual works with the research questions that organize each project.
Nnenna Okore builds sculpture and immersive installations through the transformation of fibers, glass and biomaterials. Her practice centers on ecological relationships, with methods including shredding, pulping, dyeing, sewing and tying. These actions turn material change into both a visible form and a subject of inquiry. Her biography connects the studio work with teaching at North Park University in Chicago and with participatory environmental projects. The work is useful for readers interested in fiber beyond a conventional textile object: plant-like forms can expand into space, while the preparation and breakdown of materials remain important to their meaning. Her statement also describes studio encounters in which participants engage with the materials directly. Follow those processes alongside finished installations to see how making, learning and environmental questions become parts of the same practice.