The Gallery of Contemporary Textile Artists
Lise Bjørne Linnert
Norway
-
Artist's Statement
I work with a variety of media: installation, textile, drawing, performance, sound and photo.
My work is direct, repetitious and use time as an active element. The work is socially conditioned and I often use traces as a starting point; my own or others, individual or collective. The traces repetitious character builds up an expression over time. The projects are often continual and exhibited as constellations of this "documentary" material.
An ongoing community art project, Desconocida/Unknown organizes people globally to engage in the fight against abuse of women by embroidering two nametags each. One nametag bears the name of a murdered young woman in Ciudad Juarez, Mexico. The other tag bears the word unknown written in the participant's language and alphabet, to remember all the victims of similar crimes worldwide. 2200 people have so far participated, leaving their handwriting, needlework, colour choice — imprints as individual as a fingerprint.
In Fences I travel to different places near and distant and leave a soft trace behind. I find a fence, the stop for entrance, and around a part of its wires, sometimes around a broken part of the fence, I stitch with silk thread or fabric. The piece is photographed. The date, time, address and a few lines of what happened when I stitched are noted.
The fence chosen can be at a spot holding intense political tension or the place is anonymous. Both type of sites are chosen with intention. By June 2010, 90 traces have been left behind in cities like: New York, London, Copenhagen, Tel Aviv, Dresden, Medana, Oslo
Pain Registry is a work where thousands of small knots, tied in thin black silk thread, are composed into hundreds of knot clusters. The spectators are meant to experience the work through a magnifying glass.
The project is an analytical approach and an attempt of visualizing physical pain. The experience is subjective, based on my own long-standing back injury. While I wait for improvement, about 2 years, I encounter the pain with a detached eye, similar as looking at it through a magnifying glass, and I tie knots. The starting point for Pain Registry was May 2009. In 2012, when my problem is to be solved, Pain Registry will consist of about 1500- 2000 key knots. -
Artist's Statement
I work with a variety of media: installation, textile, drawing, performance, sound and photo.
My work is direct, repetitious and use time as an active element. The work is socially conditioned and I often use traces as a starting point; my own or others, individual or collective. The traces repetitious character builds up an expression over time. The projects are often continual and exhibited as constellations of this "documentary" material.
An ongoing community art project, Desconocida/Unknown organizes people globally to engage in the fight against abuse of women by embroidering two nametags each. One nametag bears the name of a murdered young woman in Ciudad Juarez, Mexico. The other tag bears the word unknown written in the participant's language and alphabet, to remember all the victims of similar crimes worldwide. 2200 people have so far participated, leaving their handwriting, needlework, colour choice — imprints as individual as a fingerprint.
In Fences I travel to different places near and distant and leave a soft trace behind. I find a fence, the stop for entrance, and around a part of its wires, sometimes around a broken part of the fence, I stitch with silk thread or fabric. The piece is photographed. The date, time, address and a few lines of what happened when I stitched are noted.
The fence chosen can be at a spot holding intense political tension or the place is anonymous. Both type of sites are chosen with intention. By June 2010, 90 traces have been left behind in cities like: New York, London, Copenhagen, Tel Aviv, Dresden, Medana, Oslo
Pain Registry is a work where thousands of small knots, tied in thin black silk thread, are composed into hundreds of knot clusters. The spectators are meant to experience the work through a magnifying glass.
The project is an analytical approach and an attempt of visualizing physical pain. The experience is subjective, based on my own long-standing back injury. While I wait for improvement, about 2 years, I encounter the pain with a detached eye, similar as looking at it through a magnifying glass, and I tie knots. The starting point for Pain Registry was May 2009. In 2012, when my problem is to be solved, Pain Registry will consist of about 1500- 2000 key knots. -
Artist's Statement
I work with a variety of media: installation, textile, drawing, performance, sound and photo.
My work is direct, repetitious and use time as an active element. The work is socially conditioned and I often use traces as a starting point; my own or others, individual or collective. The traces repetitious character builds up an expression over time. The projects are often continual and exhibited as constellations of this "documentary" material.
An ongoing community art project, Desconocida/Unknown organizes people globally to engage in the fight against abuse of women by embroidering two nametags each. One nametag bears the name of a murdered young woman in Ciudad Juarez, Mexico. The other tag bears the word unknown written in the participant's language and alphabet, to remember all the victims of similar crimes worldwide. 2200 people have so far participated, leaving their handwriting, needlework, colour choice — imprints as individual as a fingerprint.
In Fences I travel to different places near and distant and leave a soft trace behind. I find a fence, the stop for entrance, and around a part of its wires, sometimes around a broken part of the fence, I stitch with silk thread or fabric. The piece is photographed. The date, time, address and a few lines of what happened when I stitched are noted.
The fence chosen can be at a spot holding intense political tension or the place is anonymous. Both type of sites are chosen with intention. By June 2010, 90 traces have been left behind in cities like: New York, London, Copenhagen, Tel Aviv, Dresden, Medana, Oslo
Pain Registry is a work where thousands of small knots, tied in thin black silk thread, are composed into hundreds of knot clusters. The spectators are meant to experience the work through a magnifying glass.
The project is an analytical approach and an attempt of visualizing physical pain. The experience is subjective, based on my own long-standing back injury. While I wait for improvement, about 2 years, I encounter the pain with a detached eye, similar as looking at it through a magnifying glass, and I tie knots. The starting point for Pain Registry was May 2009. In 2012, when my problem is to be solved, Pain Registry will consist of about 1500- 2000 key knots. -
Artist's Statement
I work with a variety of media: installation, textile, drawing, performance, sound and photo.
My work is direct, repetitious and use time as an active element. The work is socially conditioned and I often use traces as a starting point; my own or others, individual or collective. The traces repetitious character builds up an expression over time. The projects are often continual and exhibited as constellations of this "documentary" material.
An ongoing community art project, Desconocida/Unknown organizes people globally to engage in the fight against abuse of women by embroidering two nametags each. One nametag bears the name of a murdered young woman in Ciudad Juarez, Mexico. The other tag bears the word unknown written in the participant's language and alphabet, to remember all the victims of similar crimes worldwide. 2200 people have so far participated, leaving their handwriting, needlework, colour choice — imprints as individual as a fingerprint.
In Fences I travel to different places near and distant and leave a soft trace behind. I find a fence, the stop for entrance, and around a part of its wires, sometimes around a broken part of the fence, I stitch with silk thread or fabric. The piece is photographed. The date, time, address and a few lines of what happened when I stitched are noted.
The fence chosen can be at a spot holding intense political tension or the place is anonymous. Both type of sites are chosen with intention. By June 2010, 90 traces have been left behind in cities like: New York, London, Copenhagen, Tel Aviv, Dresden, Medana, Oslo
Pain Registry is a work where thousands of small knots, tied in thin black silk thread, are composed into hundreds of knot clusters. The spectators are meant to experience the work through a magnifying glass.
The project is an analytical approach and an attempt of visualizing physical pain. The experience is subjective, based on my own long-standing back injury. While I wait for improvement, about 2 years, I encounter the pain with a detached eye, similar as looking at it through a magnifying glass, and I tie knots. The starting point for Pain Registry was May 2009. In 2012, when my problem is to be solved, Pain Registry will consist of about 1500- 2000 key knots. -
Artist's Statement
I work with a variety of media: installation, textile, drawing, performance, sound and photo.
My work is direct, repetitious and use time as an active element. The work is socially conditioned and I often use traces as a starting point; my own or others, individual or collective. The traces repetitious character builds up an expression over time. The projects are often continual and exhibited as constellations of this "documentary" material.
An ongoing community art project, Desconocida/Unknown organizes people globally to engage in the fight against abuse of women by embroidering two nametags each. One nametag bears the name of a murdered young woman in Ciudad Juarez, Mexico. The other tag bears the word unknown written in the participant's language and alphabet, to remember all the victims of similar crimes worldwide. 2200 people have so far participated, leaving their handwriting, needlework, colour choice — imprints as individual as a fingerprint.
In Fences I travel to different places near and distant and leave a soft trace behind. I find a fence, the stop for entrance, and around a part of its wires, sometimes around a broken part of the fence, I stitch with silk thread or fabric. The piece is photographed. The date, time, address and a few lines of what happened when I stitched are noted.
The fence chosen can be at a spot holding intense political tension or the place is anonymous. Both type of sites are chosen with intention. By June 2010, 90 traces have been left behind in cities like: New York, London, Copenhagen, Tel Aviv, Dresden, Medana, Oslo
Pain Registry is a work where thousands of small knots, tied in thin black silk thread, are composed into hundreds of knot clusters. The spectators are meant to experience the work through a magnifying glass.
The project is an analytical approach and an attempt of visualizing physical pain. The experience is subjective, based on my own long-standing back injury. While I wait for improvement, about 2 years, I encounter the pain with a detached eye, similar as looking at it through a magnifying glass, and I tie knots. The starting point for Pain Registry was May 2009. In 2012, when my problem is to be solved, Pain Registry will consist of about 1500- 2000 key knots. -
Artist's Statement
I work with a variety of media: installation, textile, drawing, performance, sound and photo.
My work is direct, repetitious and use time as an active element. The work is socially conditioned and I often use traces as a starting point; my own or others, individual or collective. The traces repetitious character builds up an expression over time. The projects are often continual and exhibited as constellations of this "documentary" material.
An ongoing community art project, Desconocida/Unknown organizes people globally to engage in the fight against abuse of women by embroidering two nametags each. One nametag bears the name of a murdered young woman in Ciudad Juarez, Mexico. The other tag bears the word unknown written in the participant's language and alphabet, to remember all the victims of similar crimes worldwide. 2200 people have so far participated, leaving their handwriting, needlework, colour choice — imprints as individual as a fingerprint.
In Fences I travel to different places near and distant and leave a soft trace behind. I find a fence, the stop for entrance, and around a part of its wires, sometimes around a broken part of the fence, I stitch with silk thread or fabric. The piece is photographed. The date, time, address and a few lines of what happened when I stitched are noted.
The fence chosen can be at a spot holding intense political tension or the place is anonymous. Both type of sites are chosen with intention. By June 2010, 90 traces have been left behind in cities like: New York, London, Copenhagen, Tel Aviv, Dresden, Medana, Oslo
Pain Registry is a work where thousands of small knots, tied in thin black silk thread, are composed into hundreds of knot clusters. The spectators are meant to experience the work through a magnifying glass.
The project is an analytical approach and an attempt of visualizing physical pain. The experience is subjective, based on my own long-standing back injury. While I wait for improvement, about 2 years, I encounter the pain with a detached eye, similar as looking at it through a magnifying glass, and I tie knots. The starting point for Pain Registry was May 2009. In 2012, when my problem is to be solved, Pain Registry will consist of about 1500- 2000 key knots.
Contact Details:
W: www.lisebjorne.com
E: lisebjorne@mac.com
