Biography
Andrea Graham is a feltmaker and educator residing in rural Ontario with her husband and three sons. She is the Chair of the Kingston Fibre Artists, the Canadian coordinator for the International Feltmakers Association and a member of the Board of Directors at the Ontario Crafts Council. Andrea has studied feltmaking with numerous respected feltmakers, and is passionate about educating the public across Canada and the U.S. in recognizing the complexities and quality of handmade felt.
Andrea has participated in international felt exhibitions, as well as many juried and invitational shows. She received several awards from the Kingston Arts Council, the Ontario Crafts Council and the Ontario Arts Council. She has been featured in publications around the world. Andrea’s work was part of the biennial Ontario Craft Council exhibition: “Ontario Craft ‘07”, in addition to their touring exhibition, “Elemental Connections: an Exhibition of Sustainable Craft” (2007-2009), and most recently, “DIWhy?” at the OCC and “NeoFelt: Future of an Ancient Art” at the Creamery in Hotchkiss, Colorado. Curator, Gail Perrone recognises Andrea as a "trailblazer" in her craft and that Andrea is "...moving into newer areas of what's being done with felt that are stretching the traditional forms we typically make in
this medium."
Andrea's work wll be included in FiberArt International 2010 in Pittsburgh (Traveled exhibtion), "The Climate is Changing" at the textile museum in Prado, Italy and the upcoming Body + Object at the OCC Gallery (Toronto)
Andrea is looking forward to continuing with her work based on environmental matters and the fact and fiction of plant life, specifically plants we consume. She seeks to expand on the themes of mutation and adaptations of the natural world in our changing climate.
Statement
Using both traditional nomadic and modern feltmaking techniques, wool fibre is magically transformed. Felted wool is traditionally created with wool fibre, soap and water. Alternately, a single barbed needle borrowed from industrial felting machines can be used as a sculpting tool, entangling the scales on the wool fibres creating felt of another sort. These techniques together allow for endless possibilities.
In my current work, ambiguous sculptures express the paradox of living organisms: strength and fragility, persistence and surrender, liberation and containment. Open wounds and haphazard sutures serve as metaphor for the victimization of our environment as a result of our consumer culture.
In the cycle of growth and decay, environmental justice continues to be silently sought. Curious sculptural form awakens a sense of wonder in the potential of the smallest seed and organism for either success or failure. It is this precarious state and the need to nurture and protect that I wish the viewer to explore as they consider revisiting their practice. The use of wool and the alchemy of feltmaking in the execution of my art allow me to use a sustainable material which is both consistent with my message and the organic nature of my work.
Image by Tracy Olan
Installation "Harvest"
