The Symbolism of Personal Memory. The Artwork of Andrea Vail

Illustration: Andrea Vail. Gained (LOST) Opportunity, 2010.

The work of artist Andrea Vail is dedicated to, and uses a number of formats, disciplines and traditional crafts. Common themes run through her varied work which are as significant and fundamental as the history of our species. Memory, the layers of time and the significance of objects imbued with personality and a fundamental symbolism are an integral part of her work and guide us through a variety of everyday and abstract ideas, which in turn give us perhaps a sense of our belonging within the timeframe of the environment and that of our species.  

Although Vail's work covers a number of themes and ideas, it is perhaps as well to pick out one of those themes, to follow a strand of thought in some ways. A good example would be that of the simple key. A key in its own right is merely a tool made of metal in order to lock and unlock a mechanism. However, this simple but iconic tool has gradually become imbued with our shared psyche. It is part of our history as a species, but perhaps more importantly it is also part of our significantly individual history as well. A key is a form of memory, shared experience and in time that of layered reminders of that experience.

Illustration: Andrea Vail. Gained (LOST) Opportunity, 2010.

In some respects, it matters little as to the individual experiences that are attached to a key. All first-hand memories eventually fade, become confused or just become subsumed in the mass of human experience. However, the very real experience of creating a collection of random or lost keys is also an exercise in the symbolic. We all understand that a key can often be of a symbol of a deeply personal nature. We all have, and carry through our lives a number of different keys for a number of different reasons. Giving a key to someone can be a validation of trust in someone, a rite of passage as in that given to an adolescent, or the potential cementing of a relationship. On the other hand a key can also be a reluctant relinquishment of power or even a complete surrender of independence, as in old age. 

We are all aware of the significance and heightened symbolism attached to these small pieces of metal. By Vail highlighting these symbols she makes us fully aware that on the one hand they are inanimate objects devoid of emotion, whilst on the other they are personal artefacts as well as significant symbols of our shared human culture. The idea of placing a selection of keys together on a wall, whilst also separating them by the use of small individual sheets as well as the significance of drawn and sewn lines, the sewn lines being used to enclose the individual keys in acetate, thus cutting each individual statement from another, gives the impression that whilst we all share both the symbolism and the experience, we are also, as individuals, alone. 

Illustration: Andrea Vail. Gained (LOST) Opportunity, 2010.

On another level Vail also sees the key as a form of opportunity, whether potential or lost. In fact, the name of this particular piece of artwork highlighted in this article: Gained (LOST) Opportunity gives us a good indication of where this theme can go. It is fascinating to consider the heightened symbolism, belief and potential that can be imbued into a simple mechanical format. However, it is perhaps not the key itself that takes on this burden of the potential for opportunity, whether real or not, as well as that of memory, experience and emotion, but that of the individual. We are a transient and short-lived species with little to seriously project beyond our lifespans, of the experiences we have had and the dreams we left unfulfilled. So in some respects, this particular piece of work by Vail could be seen as poignant, a look at the endless layers and the endless journey of successive lives and memories, pinpointed in an everyday object.

Although in many cases symbolism, and specifically that of a personal kind, is the only real tangible idea that we can leave behind us, that personal symbolism also fades in time.  However, perhaps that is not as important in the long run as we would believe it to be. In some respects, Vail's work shows us through the use of random and therefore unnamed and unidentified keys, the strength and enduring path of recollection and it is a tribute to the memory of remembrance to that of the individual but also to that of the many. We are a product of layers of humanity, a symbol, in our own right, of the hopes and opportunities, whether realised or lost, of the many individuals that came before us, just as we are to be the same for future generations. We are all keys of opportunity, of memory and of experience, we open the door for future versions of our species and therefore Vail's Gained (LOST) Opportunity is both literal and metaphoric, a description of the human condition and the cycle of life, opportunity and death that we all experience as both individuals and as a species.

Andrea Vail is a well-known and admired visual artist with a wealth of experience within the fine art world. She has exhibited widely and has her own fully comprehensive website which can be found here. The website contains many more examples of her intriguing and thought-provoking work.

All images were used with the permission of the artist and are therefore copyrighted.

Artists, Designers and Unknown Makers

Illustration: Gustaf Fjaestad (artist), Miss Fjaestad (weaver). Below the Falls tapestry design, c1913.

Very often in the recent history of textile design and craft, the name of the artist or designer is both known and lauded, and indeed that is the way that it should be. However, often the maker of the piece has not always been the artist. One of the textile disciplines in which this is acutely apparent is in tapestry design.

Although the composition of a tapestry piece was usually completed by an artist, that same artist would not always complete the weaving of that tapestry, often they would not be involved in the process at all, though this was not always the case. Where today we would probably surmise that a tapestry artist that conceived the artwork would also be the same person that wove that composition, there was also a tradition of the tapestry studio which would house a dedicated team of weavers who would produce whatever work came into the studio. Sometimes an artist would have a relatively intimate relationship with the studio and sometimes there would be little contact, particularly if the tapestry was to be a woven version of an already existing fine art piece.

Illustration: Alfred Wallander (artist), Svensk Konstslojd (weaver). St George and the Dragon tapestry design, c1913.

This inevitably leads to the question, whose work can be truly identified with the finished tapestry and whose name should more fittingly be associated with that piece. The artist produced both the concept and the ultimate outward projection of the art project. However, the weaver was much more intimately involved in both the day to day construction, and also the details which would no doubt have become personalised with a particular weaver.

Illustration: Alfred Wallander (artist), Svensk Konstslojd (weaver). The Blessed Virgin tapestry design, c1913.

It is a hard and probably unrewarding task defining the appropriation of the title of true maker for a tapestry where two creative individuals are involved in one piece. Some may say that the true creative can only be the artist and that the weaver is merely following explicit instructions from the artist, but this is rarely the case. Tapestry weaving is creative in its own right and although choice of colours, yarns and even perhaps the approach taken by the weaver might well be dictated by the artist, the small, intimate processes that are all part of the tapestry weaving process produce judgements that have to be made by the weaver as they progress through the piece. Admittedly there are different types of weaving techniques as there are different types of approach when dealing with the practical construction of a tapestry. However, this does not negate the important personal contribution of the weaver.

All five of the tapestries shown in this article, two by Alfred Wallander and one each by Gustaf Fjaestad, Nils Lundstrom and Helmer Osslund were all woven by either a named individual other than the artist, or by a studio. This is not to say that because all four artists did not necessarily involve themselves fully in the weaving of their tapestries that they were somehow negligent or only partial artists, it is more to do with the interesting association that the actual weaver has with the art piece. 

Illustration: Helmer Osslund (artist), The Licium (weaver). Torne Trask tapestry design, c1913.

To be fair, through much of history many of the artists and weavers of tapestry works across the planet have been anonymous. However, with the emergence of tapestry as a fine art medium in the later nineteenth century, artists' names began to be associated with specific tapestries. These names ranged from Edward Burne-Jones to Otto Eckmann and they are recognised and appreciated as important individuals within tapestry design, although at the same time, there is often little mention of any of the individuals that actually physically produced the work. Admittedly, the involvement of these various individuals and teams of weavers would have been more of less intimate with the finished tapestry depending on their experience and natural ability. It is also perhaps asking too much to expect weavers to have their names twinned equally with that of the artist, but recognition in some form is perhaps called for, or if not, then perhaps a recognition that an artist or designer is only one link in a long process of produced conception of a tapestry and the actual finished piece.

This of course is not a problem associated only with tapestry. Many of the textile disciplines including rug weaving, embroidery, lace and others find the same peculiar position whereby an individual artist or designer is recognised for their achievement towards a specific discipline, but the actual producers of the work are largely unrecognised. Add to this factor that most of the lauded designers during the period covering the latter half of the nineteenth century and into the twentieth were men and most of the practical and anonymous workers were women, a definite series of problems concerning the recognition of the creative worker as well as the creative designer or artist can easily be found.

Illustration: Nils Erik Lundstrom (artist), Thyra Grafstrom (weaver). The Witch's Lake tapestry design, c1913.

Whether the question of the unacknowledgement of practical makers had more to do with rigid social or creative frameworks or that there was more involved in this process than we can see today, I am not sure. However, I have always been aware that producing articles on named artists and designers can only ever be part of the story, the wealth of practical knowledge and understanding of materials and mediums accrued by generations of practical makers, most of whom were nameless women, is perhaps the largest and most inspiring part of the creative process.

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A Celebration of Textile Art

Some may remember the series of articles that The Textile Blog produced on a number of contemporary textile artists. I thought it a timely reminder not so much to reflect on the articles themselves, but the idea of textile art as a title. Many still see the impossibility of the words 'textile' and 'art' being in the same sentence, at least without being derogatory. It is often thought that textile art is a branch of craft, and while techniques used by textile artists do often derive from a craft foundation, whether that be through quilting, embroidery, printing, weaving, tapestry, knit, lace, felt and others, it does not negate the conceptual thought that often goes into a textile art piece.

Happily for many, we have come a long way from the idea that textile art should be considered a lesser subject than fine art. In fact, it is just one of the many tools that an artist can use as a form of self-expression. It is also a discipline that is loaded with complex and diverse forms of making and shows an extraordinary capacity for self-perpetuating individualism and the unique qualities that can only be found within the textile genre.

Textile art is growing strongly, and in many of the traditional craft skills that are often assumed near-dead, individuals have breathed new life into tried and tested formulas, often completely breaking the rules of tradition, producing new and innovative ideas that are then pushed on by others. Interestingly and happily, there is no real centre to contemporary textile art. It can be found from Alaska to New Zealand, and can reflect the flavour of local heritage and culture or can project outwards a truly international aspect.

In many ways, as the title of this article suggests, this is a celebration not only of textile art itself, but how far it has come and how healthy seems its journey ahead. There are many artists, who have now become established names in their own right, and there are new generations of artists, some of whom approached textile art from the wide textile craft base, but interestingly there are also those that are approaching textiles from a fine art background.

One thing that I have always noticed about the textile art world is how enthusiastic, supportive and accommodating it is to a whole range of diverse approaches. All seem accepted, the professional, the amateur, the traditionalist and the contemporary and this is surely how it should be. There should always be room for creative free-expression. One of the great strengths of textile art is the fact that so many techniques are involved and can be so on one individual art piece. The skills base itself is extraordinary with textile artists being proficient often in a whole range of traditional as well as highly contemporary techniques and ideas. As long as textile artists can project themselves into the modern world, in many respects they keep the traditional skills of quilting, embroidery, printing, weaving, tapestry, knit, lace, felt and so many others, alive and self-refreshing. In this way the hand-produced textile disciplines can be passed on to new generations, who will hopefully re-evaluate and then project a new identity to those traditions.

Textile art is a fascinating world full of possibilities. It often involves a cross-disciplinary assumption that is not always favoured by all members of the creative world. However, textile artists themselves often produce work that is layered with both meaning and identity. That the layering can also be an accumulation of a diverse technical ability, can often be seen as a liberation rather than a betrayal of craft or art roots. Either way it appears obvious that textile art is both an important part of the contemporary creative world, as well as expanding and maturing into a discipline that counts.

The mosaic illustration that goes with this article shows the work of all 38 artists that were featured on The Textile Blog. They can all be found on the Textile Artists page by pressing the tab just below the main header of the blog, or you can follow this link.

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