Tapestry of Hours is an edition of one hundred and thirty-eight chapbooks and twelve special edition portfolios with chapbook and tapestry.
The special edition portfolio is made of crinoline, machine sewn and hand-dyed in fustic with the pressure printed, machine-stitched text from a cut-up poem written by Anne Greenwood. 8”x12”x1” closed, 8”x16.5”x.5 open, edition: 12
The special edition chapbook cover is machine stitching on crinoline, the under print is pressure printed, hand-stitched embroidery with pochoir. The decorations are handstitched embroidery sigils by Anne Greenwood and Shannon Ayuyu pressure printed on kitakata paper. 7”x11”x.5”, edition: 12
The tapestry is made of crinoline hand-dyed in madder, fustic, cochineal and indigo, with hand-stitching and pochoir. The machine-stitched texts are cut-ups of Hazel Hall’s poetry made by Shannon Ayuyu and Anne Greenwood. The pressure printed textiles are found mfabric and doily with hand cutwork. The poem Loneliness is written by Hazel Hall, rewritten by Anne Greenwood and printed with a polymer plate. 34”x 22”, edition: 12
The larger edition chapbook is laser printed on Mohawk Superfine. 6”x10” edition: 138
The printing is all by Clare Carpenter, and laser printing by Minute Man, 2016 Portland, Oregon.
Anne Greenwood Rioseco
Portland, Oregon
www.annegreenwood.net
Tapestry of Hours
2016
Textiles, ponchoir, hand and machine stitching, pressure printing, hand embroidery, buckram, indigo, fustic, cochineal, oasage natural dyes, digital printing, Mohawk Superfine & Mulberry papers
special edition:12, trade edition:138
22 pages
8”x16.5”x.5 open
8”x12”x1” closed
Artist Statement
My current work investigates the social histories embedded in cultural and art objects, especially those combining historic and contemporary materials. I am interested in repurposing textiles and book art, and recasting these artifacts with new meanings while preserving their historical integrity. My latest work, Tapestry of Hours, an edition of fabric books, is at once physical and ephemeral: it fuses the work of early 20th c. Oregon poet Hazel Hall with my own writing and hand and machine stitching and printing on hand-dyed crinoline. I collaborated with emerging artist Shannon Ayuyu who, like Hall, was disabled at a young age and has personally experienced how it is to feel separate, but also how art can be a tool for transformation and connection.
Hazel Hall was born in St. Paul, Minnesota on February 2, 1886 and moved to Portland, Oregon as a small child. At the age of twelve, she suffered from scarlet fever and related complications leaving her confined to a wheel chair: her formal schooling ended in the fifth grade. To help her family financially, Hazel Hall took in sewing and as her eyesight began to fail in her early twenties, she wrote poetry. She died in Portland, in 1924 at the age of thirtyeight. Hazel’s sister Ruth, who was a librarian, helped her immensely as an advocate and agent for both her stitching and poetry. Tapestry of Hours is made in an edition of one hundred and thirty-eight laser printed, hand-bound chapbooks and twelve special edition portfolios with chapbook and tapestry.
The special edition portfolio is made of buckram, machine sewn and handdyed with pressure-printed, machine-stitched text from a cut-up poem written by Anne Greenwood. The chapbook cover is machine stitching on crinoline, the under print is pressure printed, hand-stitched embroidery with pochoir and hand-bound using the pamphlet stitch. The decorations are hand-stitched embroidery sigils by Anne Greenwood and Shannon Ayuyu pressure printed on kitakata paper. The tapestry is made of crinoline handdyed in madder, fustic, cochineal and indigo, with hand stitching and mpochoir. The machine-stitched texts are cut-ups of Hazel Hall’s poetry made by Shannon Ayuyu and Anne Greenwood. The pressure printed textiles are found fabric and doily with hand cutwork. The poem Loneliness, is written by Hazel Hall, rewritten by Anne Greenwood and printed with a polymer plate. The printing is all by Clare Carpenter 2016 Portland, Oregon. This project was funded in part by a Oregon Regional Arts & Culture Council Grant, Caldera Artist-In-Residency, and The Hallie Ford Foundation.