Three Contemporary Canadian Tapestry Artists Murray Gibson /// Jane Kidd /// Ann Newdigate

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Foreword Page 4, overandunderoverandunder... Ann Newdigate List of Works Page 38, Murray Gibson Jane Kidd

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Murray Gibson Ann Newdigate Numbering Familiar Series: of Days, 1994 Carrie A Cross Jane Kidd 153 x 92 cm inherited Wonderland Wool and silk Ann Newdigate considerable Series: Folly, 2016 Familiar Series: property provided 182 x 121 cm Sad Little that she did not Wool, cotton, Coptic Ancestor., marry certain rayon, silk, linen n.d. people., n.d. 28 x 23 cm 28 x 23 cm cotton, silk, linen, cotton, silk, linen, cotton, wool and cotton, wool and some synthetics some synthetics

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FOREW/RD LIST OF WORKS JANE KIDD I n a time of instantaneity MURRAY GIBSON and the global outsourcing of to the significance of the ubiq- 1. Wonderland Series: skilled labour tasks, tapestry uitous and enduring practice of 1. Statue of Limitations, 1990 Curiouser and Curiouser #2, by artist-makers rather than tapestry, bolstered by thoughts 173 x 160 cm 2015 artist-designers is rare indeed. from the three artists. Wool 8. Plot, 2014 46 x 183 cm Nevertheless, weaving is one 44 x 44 cm Wool, cotton, rayon, silk of humanity’s most ancient Ann Newdigate’s ongoing 2. Cross Town, 1991 Wool and cotton with mounted on a wooden shelf creative and technological prac- artistic and educational practice 170 x 163 cm embroidered embellishment tices, and in some form has spans four decades and multiple Wool and silk Collection: Alberta Foundation 2. Curiosities Series: Pairing #2, existed for at least 12,000 years. continents, earning her the for the Arts 2013 The works by Ann Newdigate, Saskatchewan Lieutenant 3. Babel, 1991 66 x 56 cm Jane Kidd and Murray Gibson in Governor’s Life Time Achieve- 157 x 155 cm 9. Revenge: Tereus, Philomela, Wool, cotton, silk, mounted on overandunderandoverandunder... ment Award. The Saidye Wool Procne, 2014 a wooden board and shelf raise provocative and pertinent Bronfman Award, part of the 44 x 164 overall questions about the use of Canada Council’s prestigious 4. A Numbering of Days, 1994 Wool and cotton 3. Curiosities Series: Pairing #3, traditional skills, changing Governor General’s Awards, Thanks also to Kelly Hartman 153 x 92 cm 2013 6. Wonderland Series: Folly, perceptions of time, and how recognized Jane Kidd’s lengthy, of Hartman Design Studio for Wool and silk 10. Arachne, 2016 66 x 56 cm 2016 tapestry, a seemingly anach- varied and continuing contribu- her imaginative and sympathetic 57 x 60 cm Wool, cotton, silk, mounted on 182 x 121 cm ronistic practice, is relevant tions to the fine craft of tapestry design of the publication, and 5. Annunciation: Conturbatio, Wool and cotton a wooden board and shelf Wool, cotton, rayon, silk, linen as contemporary art. in 2016. Murray Gibson, to the Canada Council for the Cogitatio, Interrogatio, Woven while holding an Arts himself an alumnus of ACAD Arts and the City of Medicine Humiliatio, Meritatio, 1995 Nova Scotia Creation Grant 4. Curiosities Series: Pairing #4, 7. Land Sentence: Arbour, 2009 Herself an artist and educator, who studied with Jane Kidd, Hat for their ongoing support 50 x 35 cm (each) 2013 83 x 205 cm Deborah Forbes has brought exhibits internationally while of Esplanade Art Gallery’s Wool and cotton 11. Valkyrie: Web of War, 66 x 56 cm Wool, cotton, rayon, silk, linen her considerable experience teaching in Nova Scotia, and exhibitions, publications and 2018 45 x 117 cm Wool, cotton, silk, mounted Collection of the Alberta as a tapestry-maker to her was named a Master Artisan programs. 6. The Lady of Shalott, 2008 Wool and cotton on a wooden board and shelf Foundation for the Arts role as guest curator of by Craft Nova Scotia in 2015. 60 x 60 cm Woven while holding an Arts overandunderandoverandunder... We are privileged to present Joanne Marion, Wool and cotton Nova Scotia Creation Grant 5. Curiosities Series: Pairing #6, 8. Land Sentence: Zoo, 2012 for which we are grateful. their intricate and accomplished Director/curator, 2013 99 x 200 cm CONTENTS I thank her also for the main works in the exhibition and the Exhibitions & Collections 7. Unknowing, 2012 12. Ariadne, 2018 66 x 56 cm Wool, cotton, rayon, silk, linen text, in which she applies her catalogue, and thank them for Esplanade Arts & 60 x 45 cm 57 x 47 cm Wool, cotton, silk, mounted Collection of Salt Spring Island astute, questioning intelligence their many contributions. Heritage Centre Wool and silk Wool and cotton on a wooden board and shelf Public Library 4 /// overandunderandoverandunder… overandunderandoverandunder… /// 15 overandunderandoverandunder… /// 23 overandunderandoverandunder… /// 31 38 /// overandunderandoverandunder…

overandunderandoverandunder… Three Contemporary Canadian Tapestry Artists Murray Gibson /// Jane Kidd /// Ann Newdigate By Deborah Forbes, 2018

JANE KIDD I Divided and Undivided? MURRAY GIBSON ARTIST STATEMENT destructive relationship to III have had a passionate interest ARTIST STATEMENT the world around us (Land in tapestry since, as a teenager, The complexities embedded in As an artist, I explore ideas that Sentence Series 2009 – 2012). I dropped down a rabbit hole our understandings of the word I have been a tapestry artist for reference my experience of the More recently I have become in the millefleur of the Unicorn tapestry are similarly embedded almost 35 years. During this world. I work almost exclu- increasingly interested in the Tapestries (1495–1505 CE) at However one looks at it, the in trying to decode the place The Drapery Series is a collec- time my artistic concepts, designs sively with woven tapestry, use of technology to manipulate the Cloisters in New York City. word tapestry seems to draw us tapestry weaving occupies in tion of tapestries inspired by and technical approaches to which I find to be a compelling and engineer the environment. Later, I learned to weave into thinking about relatedness contemporary art. The follow- women of myth and legend, weaving have changed and dev- medium because it provides a Recent advances now provide tapestry in Edinburgh from and rich complexity. Interest- ing discussion with and about poetry and prose who are eloped, but there is a common means to develop content the means to disrupt evolution- ARTIST BIO Archie Brennan, internationally ingly, in trying to write words three contemporary Canadian textile practitioners; with their thread that runs throughout my through imagery. I am drawn ary biology, altering genetic ARTIST BIO o verandunder andoverandunder… renowned tapestry artist. with meaning about contemp- artist-weavers, Murray Gibson, practice, they control the lives practice; that is, my concepts to the material identity of material to create genetically Ann Newdigate holds degrees Although my art practice has orary art and tapestry weaving, Jane Kidd and Ann Newdigate, and deaths of others, and at and imagery are best realized as tapestry and committed to modified organisms, clones, and Jane Kidd taught at ACAD ANN NEWDIGATE in African Studies and English Three Contemporary Canadian Tapestry Artists moved away from tapestry, it has been difficult not to talk reveals that what makes tap- times, of themselves. These woven cloth, rather than being My most recent tapestries ARTIST BIO finding meaning and relevance hybrids. For a layperson such from 1980 – 2011 and has ARTIST STATEMENT Literature from Cape Town Murray Gibson /// Jane Kidd /// Ann Newdigate I remain curious about the about everything at once. How- estry weaving a pursuit so tapestries share a common more suited to presentation in reference women of literature in the process of handwork. as myself, these developments exhibited in numerous solo University, South Africa, and breadth of contexts that adopt ever hard I try to keep clear, distinct, and so grounded in aesthetic of an abstracted some other art form, or being and myth who are textile Murray Gibson studied are both intriguing and disturb- and over sixty group exhibitions I believe that artists do not has a BFA and MFA from the the word tapestry, as well as focused sections, the ideas run a continuum of history, is its background overlaid by a woven “translations” of other practitioners; their practice in tapestry weaving at the Alberta For a number of years, ing (Curiosities Series: Pairings in Canada, the USA, Japan, choose to make Tapestry. University of Saskatchewan. This publication was produced the breadth of contemporary away into collisions at inter- ability to construct meaning in delineated image. The artistic media, unless this some way involves life and College of Art and Design I explored the implications #1, #2, #3, #4, #5 and #6, Poland, Hungary, and Australia. Tapestry chooses the artists. She completed a post-graduate by the Esplanade Art Gallery in contexts and content that make sections; everything is talking ongoing contemporary worlds. abstracted background is approach is the means to an death. The Three Fates (ACAD) with Jane Kidd, of accumulating, collecting 2012 – 2016 and Wonderland Kidd’s work is held in private Tapestry is a tyrant. year in the Tapestry Department, conjunction with the exhibition Guest Curator: Deborah Forbes their way into tapestry weaving. and colliding at the same time Even in current contemporary derived from images of gowns end rather than the end itself. spinning, measuring, and graduating in 1985. After ten and displaying objects from Series 2014 – 2017). and public collections including But it is a generous tyrant that Edinburgh College of Art, overandunderandoverandunder... Text: Deborah Forbes There is a book or article in so that only fragments surface times, the history of tapestry these heroines wear in other, cutting the Thread of Life are years of studio practice, material culture and the natural Canada Council Art Bank, bestows many rewards, and Scotland. She taught drawing Three Contemporary Tapestry Publication coordination: almost every area of fact or as audible at any given time. is present in tapestry weaving, historical artistic depictions. I have often referenced other the primary example. Murray received his MA world. I examined the desire to My work reflects the complica- Department of Foreign Affairs, even over time a little sanity. while inaugurating the tapestry Artists: Murray Gibson / Joanne Marion fiction with tapestry in the title: In deep frustration, I began to sometimes as subject, always in textile forms: Kente cloth Textiles from Goldsmith’s possess and assimilate nature tions and contradictions of Alberta Foundation for the sTapestry has nurtured my department at Monash Jane Kidd / Ann Newdigate. Design: Kelly Hartman, military history, democracy, realize that the troubles I am process. Tapestry weaving has When Gibson writes overlaid, motifs, Middle-eastern kilim In these ways – directly College, London, UK in 1995. into material culture through issues with which we live. Arts, and Canadian Museum inter-est in portraits. University, Melbourne, The exhibition was presented Hartman Design Studio family constellations, critical having in keeping discreet been practiced for hundreds of he means overlaid only in a symbols, and traditional quilt referencing cloth and its In 2015, Murray was named its translation into decorative Through symbolic imagery, of History. She was elected to Images of faces reflect official Australia, as the 1990 Visiting at the Esplanade Art Gallery Photography: XX page XX, theory, Tudor and Elizabethan sections in writing is very much years in diverse cultures, almost visual sense, in how it appears. and coverlet designs. I have making by means of my own a Master Artisan by Craft pattern, systems of notation, and materials and the labour inten- the Royal Canadian Academy histories and private emotions. Fellow. She has exhibited December 1, 2018 – XX page XX, XX page XX, history, enchantments, mythol- akin to the processes of weaving exactly as it is practiced today. Creating this appearance of frequently used patterning for woven cloth – I hope that my Nova Scotia. Murray currently collections (Possession Series sive process of hand weaving, of Art in 2001, awarded the Now at a venerable age I con- internationally, representing January 26, 2019 XX page XX ogies. This could mean that tapestry. Regarding the collisions The exquisite mystery, however, over laying is a complex journey its decorative qualities; also artistic concepts have integrity teaches at St Francis Xavier 2005 – 08). I continue to explore I call attention to the precarious Alberta Craft Council Award jure up, and combine, my Canada in the Lodz Tapestry Printing: Kallen Print tapestry has an enormous and at intersections: you cannot is how an archaic process can that requires the physical border elements directly as tapestries. University in Antigonish, NS. an interest in human/nature nature of our environment. of Excellence in 2008, and the childhood preoccupation with Triennial in Poland, and most Esplanade Arts and straggly cluster of meanings, weave the intersection, then comfortably carry content integration of images. This is reference a European tapestry Murray’s tapestries have been relationships, developing Ultimately, I hope my tapestries Saidye Bronfman Award drawing and story telling. recently at Contemporary Heritage Centre 978-1-988813-06-6 of intertextualities, indicating the vehicles, then the shouting contemporary to every age in a singular potential of tapestry tradition. I admire medieval I wish to acknowledge the exhibited across North America, imagery from technological will be seen as objects of (Governor General’s Award Whether it be tapestry or Calgary in 2017–18. Her work 401 First Street S.E. that people think they have a people with their mouths open, which it has lived. Nova Scotia weaving which changes both tapestries for their aesthetic of financial support of an Arts in Poland and Australia. His data including aerial and expressive and sensual beauty, for Visual and Media Arts, computer or watercolour that is collected internationally and Medicine Hat, AB, Canada © City of Medicine common understanding of how in a tidy sequence. They all tapestry artist Murray Gibson the visual impact and the flat pictorial space, and shape Nova Scotia Creation Grant tapestries – many commissioned satellite photography, forms which celebrate the handmade Canada’s foremost distinction chooses me it is the simplicity is held in numerous public T1A 8W2 Hat/Esplanade Arts and the word can be used and what have to be woven at the writes of the incorporation of transmission of content. and form articulated by classic to support my studio practice – hang in private, public, and of technology that record the and encourage reflection on for excellence in the visual arts) of mark making that feeds my collections including the (403) 502-8580 / esplanade.ca Heritage Centre, 2019 it could mean. same time. history as subject and content: See Fig 1 > tapestry weaving techniques. during 2016-18. corporate collections. result of our complex and often our changing world. in 2016. eye, my hands and my soul. Canada Council.

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2 /// overandunderandoverandunder… overandunderandoverandunder… /// 3 overandunderandoverandunder… Three Contemporary Canadian Tapestry Artists Murray Gibson /// Jane Kidd /// Ann Newdigate By Deborah Forbes, 2018

I FOREWORD I have had a passionate interest The complexities embedded in I n a time of instantaneity in tapestry since, as a teenager, our understandings of the word and the global outsourcing of to the significance of the ubiq- I dropped down a rabbit hole tapestry are similarly embedded skilled labour tasks, tapestry uitous and enduring practice of in the millefleur1 of the Unicorn in trying to decode the place The Drapery Series is a collec- by artist-makers rather than tapestry, bolstered by thoughts Tapestries (1495–1505 CE) at tapestry weaving occupies in tion of tapestries inspired by artist-designers is rare indeed. from the three artists. the Cloisters in New York City. contemporary art. The follow- women of myth and legend, Nevertheless, weaving is one Later, I learned to weave However one looks at it, the ing discussion with and about poetry and prose who are of humanity’s most ancient Ann Newdigate’s ongoing tapestry in Edinburgh from word tapestry seems to draw us three contemporary Canadian textile practitioners; with their creative and technological prac- artistic and educational practice Archie Brennan, internationally into thinking about relatedness artist-weavers, Murray Gibson, practice, they control the lives tices, and in some form has spans four decades and multiple renowned tapestry artist. and rich complexity. In trying Jane Kidd, and Ann Newdigate, and deaths of others, and at existed for at least 12,000 years. continents, earning her the Although my art practice has to write words with meaning reveals that what makes tap- times, of themselves. These The works by Ann Newdigate, Saskatchewan Lieutenant moved away from tapestry, about contemporary art and estry weaving a pursuit so tapestries share a common Jane Kidd and Murray Gibson in Governor’s Life Time Achieve- I remain curious about the tapestry weaving, it has been distinct, and so grounded in aesthetic of an abstracted overandunderandoverandunder... ment Award. The Saidye breadth of contexts that adopt difficult not to talk about every- a continuum of history, is its background overlaid by a raise provocative and pertinent Bronfman Award, part of the the word tapestry, as well as thing at once. Ideas run away ability to construct meaning in delineated image. The questions about the use of Canada Council’s prestigious the breadth of contemporary into collisions at intersections, ongoing contemporary worlds. abstracted background is traditional skills, changing Governor General’s Awards, Thanks also to Kelly Hartman contexts and content that make everything is talking simultan- Even in current contemporary derived from images of gowns perceptions of time, and how recognized Jane Kidd’s lengthy, of Hartman Design Studio for their way into tapestry weaving. eously and colliding, so that times, the history of tapestry these heroines wear in other, tapestry, a seemingly anach- varied and continuing contribu- her imaginative and sympathetic There is a book or article in only fragments of meaning is present in tapestry weaving, historical artistic depictions.2 ronistic practice, is relevant tions to the fine craft of tapestry design of the publication, and almost every area of fact or audibly surface at any time. sometimes as subject, always in as contemporary art. in 2016. Murray Gibson, to the Canada Council for the fiction with tapestry in the title: In deep frustration, I began to process. Tapestry weaving has When Gibson writes overlaid, himself an alumnus of ACAD Arts and the City of Medicine military history, democracy, realize that the troubles I am been practiced for hundreds of he means overlaid only in a Herself an artist and educator, who studied with Jane Kidd, Hat for their ongoing support family constellations, critical having in keeping discreet years in diverse cultures, almost visual sense, in how it appears. Deborah Forbes has brought exhibits internationally while of Esplanade Art Gallery’s theory, Tudor and Elizabethan sections in writing is very much exactly as it is practiced today. Creating this appearance of her considerable experience teaching in Nova Scotia, and exhibitions, publications and history, enchantments, mythol- akin to the processes of weaving The exquisite mystery, however, overlaying is a complex journey as a tapestry-maker to her was named a Master Artisan programs. ogies. It would seem that tapestry. Regarding the collisions is how an archaic process can that requires the physical role as guest curator of by Craft Nova Scotia in 2015. tapestry has enormous and at intersections: you cannot comfortably carry content integration of images. This is overandunderandoverandunder... We are privileged to present Joanne Marion, straggly clusters of meanings, weave the intersection, then contemporary to every age in a singular potential of tapestry for which we are grateful. their intricate and accomplished Director/Curator, and that people think they have the vehicles, then the shouting which it has lived. Nova Scotia weaving which changes both I thank her also for the main works in the exhibition and the Exhibitions & Collections a common understanding of people with their mouths open, tapestry artist, Murray Gibson, the visual impact and the text, in which she applies her catalogue, and thank them for Esplanade Arts & how the word can be used, in a tidy sequence. They all have writes of the incorporation of transmission of content. astute, questioning intelligence their many contributions. Heritage Centre and what it could mean. to be woven at the same time. history as subject and content: See Fig 1 >

4 /// overandunderandoverandunder… overandunderandoverandunder… /// 5 Fig 2 Ann Newdigate Colonial Gents: Fig 1 Henry Settler Fig 3 Murray Gibson Jane Kidd Valkyrie: Curiosities Series: Web of War Pairing #3

Divided and Undivided? and out of the Medieval period (roughly 12th to 15th In the deep history of tapestry centuries), the connections weaving, there have been artists between designer and weaver who are also weavers; they remained close enough for them has been known for hundreds design the tapestries and weave to use the medium to its most ubiquitous and rapid flight This excites me; whenever I see of years in diverse cultures. them. There are also tapestries singular and beautiful ends. Given tapestry’s deep historical of digital information and the processes that are nested and In the 13th and 14th centuries, that result from divisions of Into the Baroque period roots and laborious production, slow production of tapestry in aligned, I suspect they are the Church of Rome recognized In tapestry weaving, apparent labour: artists (often painters) (roughly late 16th to 18th why would a 21st century artist its overing and undering; mean- connected to larger alignments the value of tapestries in illus- simplicity of process defies who design the tapestries and centuries), larger scale tapestries, choose tapestry as a medium, ing the weaving of weft thread in the universe that speak to trating Biblical stories to its complexity of content. Do not work out the visual ideas, and prestige items commissioned over other media, to express over and under the warp yarn larger ideas. In tapestry weaving, illiterate congregations, and, be misled! The seemingly un- weavers, who with technical by the church and various mon- Just as discussions of snow in many kinds of content? I always that is held in tension by the at its highest artistry, process is while medieval tapestries told complicated process of overing skill, interpret these visual ideas archs, required large studios Inuit languages would lose their ask the question when I look at loom. Endemic to the binary always honoured in both sub- visual stories, they also provided and undering is perilously and make them into finished with distinct divisions of labour depth and breadth of meaning a tapestry: would it have made nature of the human brain, ject and content of the image. insulation for cold stone walls. nuanced and affected by the tapestries. Interestingly, the between designers (rock-star when translated into English, a better print, or painting, or neurons have two states: fire, This has something to do with tiniest of perturbations in the history of tapestry is filled with painters) and weavers (happy the success or failure of the collage? Could the subject don’t fire. I see the binary system technical virtuosity, but much Governor General Award hands of the artist-weaver. anonymous makers and viewers. worker bees). aesthetic consequences of one matter be presented as, or more, of overing and undering in more to do with the sensitivity, winner and retired Alberta Sometimes the perturbations Often, only the commissioner medium designing for another effectively if executed in another tapestry weaving as aligned intelligence, and connected College of Art + Design faculty begin to move the artist in of the work, and sometimes the Without a deep understanding (if the processes of each are not (less labour intensive, perhaps?) with both digital communica- creativity of the maker. Fig 2. member, Jane Kidd, writes: fertile directions different from designer, are recorded for post- of the workings of the medium, in some way connected) usually medium. If the answer is that tion and the functioning of the The history of tapestry as an conscious intention; sometimes erity. The weavers, however, painters designed tapestries to results in – ‘oops!meaning lost in it could only be tapestry, then human brain. Weaving, in some form, has object created for the elite to they set the process off course remain present in their extended look as much as possible like translation’. it has everything to do with the been with humans since the express their power and prestige in directions to be ignored only physical contact with the object. paintings. The practical advan- perfect alchemical concoction West Coast-based Ann Neolithic times of 12,000 years is of interest to me. It brings me at the artist’s peril. It delights me to think their tage to this is that tapestries are It was not until the later 19th of subject, process, and content, Newdigate, whose decades- ago; even deeper roots have a certain amount of subversive DNA might still be detectable better insulation for stone walls and 20th centuries that tapestry which Gibson, Kidd, and long practice inextricably links been found 20,000 – 30,000 pleasure to use this process to There is no opportunity to later in the threads. than paintings; I can see no experienced a minor liberation Newdigate seem to consistently drawing and weaving, writes: years ago with pre-weaving explore issues that have come ‘go back and fix that bottom aesthetic advantage. The ima- from the deadening influence of and adroitly mix. …drawing can intersect freely twisting, knotting, twining, about largely through greed corner,’ so the artist-weaver Sometimes these divisions of gined reversal of this would be painters designing for tapestry, with the warp of the uncon- and interlocking. Both Ancient and abuse of power. As artist- must be an acute listener to the labour between designer and to have tapestry weavers, with and the return of the artist- Text, Affinities, and History scious. In contrast, the pixelled Egyptians and Incas buried weaver, I wander into areas of hum of the threads. As the pro- weaver are highly collabor- no understanding of painting, weaver. Artist-weaver, one and Intertwined grid, which is shared by their dead in tapestry-woven contemporary environmental cess of weaving staggers toward ative3, more often they are not. design paintings, to be executed the same, describes the practices medieval style woven tapestry clothing. Important civic build- politics; my approach is always completion in constantly dimin- In early history, artist-weavers by painters, to look as much as of our three contemporary In an age in which nearly any- (ends per inch) and digital ings of Classical Greece, includ- personal in reflecting my own ishing diagonals, the past really such as the Copts of 3rd, 4th, possible like woven tapestries. Canadian tapestry artists, thing can be communicated in prints (dots per inch), dictates ing the Parthenon, had walls confusion and uncertainty and is the past. Just as in life, one can and 5th century CE Egypt, As I said, imagined, as no one Murray Gibson, Jane Kidd, code of zeros and ones, there is a taut saga between old and covered with tapestries. Tapestry what I find to be an increas- only fix the past with actions in were the norm. Moving into seems to have taken this on. and Ann Newdigate. a strange binary affinity in the new technologies.4 weaving, as it is practiced today, ingly bewildering world.5 Fig 3. the present and going forward.

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Fig 8 Fig 6 Coptic Tapestry Murray Gibson portrait of a youth, Visitation Egypt, Fig 4 4th – 5th century. Murray Gibson © Victoria and Albert Babel Fig 5 Museum, London The Devonshire Fig 9 Hunting Tapestry: Ann Newdigate Boar and Bear Familiars: Sad Hunt (detail), Fig 7 Jane Kidd Little Coptic 1425–1430 Ancestor Wonderland Probably made Series: Curiouser in France. and Curiouser #2 © Victoria and Albert Museum, London

The title of this exhibition, The Devonshire Hunting overandunderandoverandunder... Tapestries, woven in a studio texts in a semiotic sense, and in Tapestry weaving, however, Newdigate’s Sad Little Coptic comes from an intention to in Arras, France, are excellent their materiality, are mosaics of simply continues to speak to Ancestor stares inside its own consider tapestry as a semiotic examples of designer-weaver implied references and responses us about itself over millennia, little head. Inward-looking eyes text with codes, a text that has Gibson writes: collaboration, in that the poten- that have endured in some while at the same time talking focus on hurt and pain that is endured over the course of time. The narrative of the imagery tials of the medium are taken form for roughly 12,000 years. about the ongoing present, the visible to the viewer through precedes the making of the advantage of fully, as described overandunderandoverandunder..., contemporary. the constructed tears. The tears Newdigate writes: Tapestry’s conventions likewise cloth, but it is the artist’s vision by Gibson. This illusory as a title, recognizes the import- themselves are created before I find tapestry to be a natural have deep roots. Gibson notes, carries codes before we even married with the weaver’s skill approach is not the same as ance of this. In the words them- Kidd writes: the eyes are woven, which sets extension of drawing. for instance, “I have frequently get to content. If tapestry is to that brings the story to life as that used by painters of the selves, there are implications I use a compartmentalized up particular import to the tears. Drawing, which preceded used decorative borders in my be considered more than an a tapestry. The Devonshire time. It is, rather, an integrated of the layers of history, process, composition to collect and It is as if the tear determines the writing, is a basic method of designs alluding to a long anachronistic and very labour Hunting Tapestries (London, approach, an approach that ideas, and developments in juxtaposition historic and eye rather than the eye deter- communication. Tapestry adds history of tapestry aesthetic intensive way of illustrating Victoria and Albert Museum) brings together the particular different bodies of work. The contemporary tools, [making] mining the tear. In tapestry a dimension of ritual for the and functionality.”6 In one of ideas, thoughts, feelings, and are woven texts telling demands of the medium and exhibition title acts metaphor- reference to botanical drawings, weaving, the order of construc- maker and for the viewer the early seminal works on telling stories, one must consider contemporary scholars about the imagery that is depicted ically, as well as literally; it acts taxonomy, diagrams and map- tion is from bottom to top or because it can signify the tapestry, Helen Churchill tapestry as text expressed in a courtly life in 15th century therein. That is, it is about the in linear progression as well as ping. I also reference historic side to side as it lurches toward presence of time and convey Candee writes, “For a long variety of codes. John Berger, Europe, particularly hunting weaving of woven textiles. in manners layered and webbed. textiles emphasizing those that completion. By contrast, as in the drama of mythology time there had been gropings, noted art critic and author of techniques and high fashion Fig 5 & 6. John Berger has famously noted, show evidence of colonialism painting for instance, the through its physical presence.16 the feeling that some sort of Ways of Seeing,8 which revolu- worn by noble personages. ‘Metaphor reconnects that and cross-cultural exchange, underlayers build up toward the border was needed, a division tionized art criticism, writes, It is these noble men and Here, I am thinking about which has been separated.’ drawing parallels between the final visual surface. Due to the Kidd also references writing line between the world of “Appearances, at any given women and their costumes that Marshall McLuhan’s11 famous In considering tapestry as a human urge to transform the language of each medium, and units of language: reality and the world of fable.”7 moment, are a construction are inspiration for much of my quote, “The medium is the text with codes that has endured natural world into material differences in the construction A sentence is the basic unit of Fig 4. emerging from the debris of tapestry practice for the past message,” which presages the over the course of time and culture and the West’s preoccu- of images tell different stories. communication, a meaningful everything that has previously many years. What interests me deconstruction work of semi- which, it could be argued, pation with accumulating and statement. In this series sentence My intention here is not to be appeared.”9 These words could is the shorthand approach the otics. I am also thinking about remains one of the oldest pro- possessing other cultures.14 Fig 7. These woven tears appear so also references the punishment reductionist in my allusion to not be truer than when applied weaver uses to drape the Julia Kristeva’s writing12 wherein cesses still in use by humans, very intentionally built of imposed by mankind on the the fundamental integrity of to tapestry. Tapestry seems to clothing over the body beneath she proposes that a text is intell- one has to wonder why tapestry Newdigate’s small woven por- experiences. The overing and environment. Through the slow tapestry and its materiality, but carry its past with it in mys- it. The complex silhouette of igible only through “a mosaic weaving has endured as a traits flow, in part, out of an undering performed by the and intimate process and flawed to look at tapestry as text in a terious ways, and each of the the garment – the actual shape of references and quotations process to express, interrogate, archaic tradition of woven artist to build each tiny tear of language of tapestry weaving semiotic sense. While not going three Canadian contemporary and surface area it would take that, in many cases, have lost connect, and communicate in Coptic portraits of the 4th–5th the Sad Little Coptic Ancestor, I am reinterpreting and rewrit- as far as textual determinism, tapestry artists in up in a tapestry – is decorated their origin.”13 Kristeva uses the 21st century. One has to centuries CE in Egypt. Large, as well as several of the ing the dispassionate certainty in which the form and content overandunderandoverandunder... with a flat rendering of pattern. mosaic in a sense that is very wonder why tapestry weaving soulful eyes were particular Colonial Spinsters, has allowed of these technological sources of a text very prescriptively carries history into the present The garment is flat: there are similar to the popular use of the has not been reduced to merely features of fully developed time for contemplation and to refocus on our complicity in determine how it is decoded by to investigate distinctly neither layers nor drapery – word tapestry. Woven tapes- an historical process to which Coptic art15, in both painting ritual as part of the text. the sentencing of the world we the viewer, tapestry, as text, different content. only illusion.10 tries, as works of art that are we cling through fear of loss. and tapestry. Fig 8 & 9. Fig 10 & 11 (next page). live in.17

8 /// overandunderandoverandunder… overandunderandoverandunder… /// 9 Fig 10 Ann Newdigate Guilt is time consuming Fig 11 Ann Newdigate Colonial Spinsters: Carrie A. Crosse inherited consider- able property Fig 13 provided that Jane Kidd she did not marry Land Sentence: certain people Fig 12 Murray Gibson Arbour Arachne

Time

The only reason for time is so that everything doesn’t happen at once. ~ Albert Einstein Chaos With extraordinary skill, imagin- ation, experience, and connected In weaving tapestry, however, illusions are accomplished in tapestry artist, in the slippage … does the flap of a butterfly’s knowing, the artist-weaver’s everything sort of does happen real time and at the same time, of doing, for drifting into webs wings in Brazil set off a intimate relationship with a at once in terms of building an as evidenced by the strands of of connection and intercon- tornado in Texas? seemingly simple, binary process image, which sets it apart from thread that appear to overlay nection over time and space, ~ E. K. Lorenz (1972) expands into an enduring This would seem consistent work in many other media. the folds of fabric beneath in into texts of every kind. The marriage of rich complexities. with the principles of chaos Few practices could make one Gibson’s Arachne. Fig 12. sensory intimacy of sitting with This metaphor has become part theory in that the very small more aware of the slipperiness a tapestry, in connection, for Eventually I came to realize of the common vernacular of David Pye21 architect, industrial perturbations, which, in this of time than weaving a tapestry. The strands and the folds sometimes months at a time that the time spent in the Western culture. Lorenz, a pio- designer, and artisan, discusses case, are decisions of the artist- The practice of tapestry is hard. occupy the same space. Illusions (and over the course of years), meditative ritual of the genre neer of chaos theory, proposed the workmanship of risk, weaver, significantly influence It takes time. It takes concentra- are rampant and structural. situates the weaver in an unu- code18 of tapestry should not be that “small perturbations,” which he locates in contrast to the outcome; and that process tion. Single actions are repeated The artist-weaver focuses, sually sustained relationship minimized. Speed has become could have disproportionately the workmanship of certainty. of decision-making cannot be and repeated. Hard decisions dreams, meditates, and then to the work. It is one in which of such value to us at this time large effects, thus making The latter could be described replicated. The workmanship are made, and remade. All of returns to hard decisions along their experience of the present in history, that anything deeply weather prediction difficult as a goal of mass production of of risk sets the work of the these statements may be true the way, dropping in and out of is both functional and time consuming, which has if not impossible.20 Tapestry identical widgets. He describes artist-weaver apart from the of work in many media. Some frontal lobe consciousness to a metaphorical. time invested in it, seems to weaving is a highly structured the workmanship of risk as: work resulting from a division aspects of the work that set dreaming brain state. Tapestry, almost shock! system that regularly encounters … simply any kind of technique of labour of designer and tapestry apart, however, are that and its potential for integrating Greater genre or textual knowl- small perturbations: very small or apparatus, in which the weaver. The artist-weaver Tapestry can do this in a very undoing takes more time than disparate content provokes edge can help the viewer to Kidd writes: weaving decisions on the path quality of the result is not operates in the land of chaos, particular way: the integration doing, and there is no going intertextuality, because of the enter the experience of looking. In our contemporary culture, to construction of a particular predetermined, but depends complexity, and risk. of form and function has to back to fix up anything with- physically integrated manner One of the questions most which is dominated by the shape can profoundly influence on judgment, dexterity and be so intimate if it is to hit this out great difficulty. Of critical the construction of images. frequently asked of tapestry reproduced object and the med- the future growth of the work care which the maker exercises To me, good art is worth exquisite point of art worth importance to understanding This greasy quality of time artists is, “How long did it take iated and appropriated image, of art because, as previously as he works. The essential idea spending time with. It shows spending time with. Gibson, the process is to comprehend seems to incite the kind of you to make this?” This used handmade objects such as stated, going back to fix or alter is that the quality of the result me something – some way of Kidd, and Newdigate do this that images which appear to intertextuality of which to mildly annoy me as it seemed tapestry can stand for authentic things is extremely difficult. is continually at risk during the looking at life in the universe. in their work and each does so overlap other images are Kristeva speaks. Differential to place value only on the time experience. Their material Tapestries, produced by artist- process of making; and so I It makes me tilt my head a bit, very differently. They honour constructed simultaneously. and historical traces, and spent in constructing instead of presence provides a direct link weavers, as a means to produce shall call this kind of workman- it provokes questions, it inveigles the poetry of the imperfect Illusions of three dimensions tracings of other texts, are on the beauty, artistry and, to the original act of making contemporary art, can be ship the workmanship of risk: curiosity, it catches me off language and history of on a two-dimensional plane manifested in the process of ultimately, the meaning of the that circumvents anonymity for viewed through the lens of an uncouth phrase, but at least guard, it delights in a prickly tapestry weaving to explore are built, not applied; these making. There is time for the tapestry as text. both maker and viewer.19 Fig 13. chaos and complexity theories. descriptive.22 sense, and it disperses energy. contemporary experience.

10 /// overandunderandoverandunder… overandunderandoverandunder… /// 11 Deborah Forbes is an artist and edu- cator living in Medicine Hat, Alberta. She has worked in a number of media including tapestry, painting, and mixed media installation. Her work has been shown in public galleries in Canada and the USA. Forbes has taught art education and art history at Medicine Hat College, AB; lectured widely across Canada, and has been a visit- ing scholar at Xiangfan University, Hubei Province, China.

ENDNOTES 11 Marshall McLuhan, Canadian professor, philosopher, and public 1 Millefleur is a kind of tapestry intellectual. His work is one of the characterized by a background motif cornerstones of media theory that 19 Correspondence between Deborah of many small flowers. essentially predicts the World Wide Forbes and Jane Kidd, 2018. Web 30 years before it was invented. Lorenz, K. (1961). The Butterfly Effect. 2 Correspondence between Deborah 20 Lorenz, E.N. (1972). Predictability: New York, NY: Perseus Publishing. Forbes and Murray Gibson, 2018. 12 Julia Kristeva, Bulgarian-born French does the flap of a butterfly's wings in psychoanalyst, critic, novelist, and edu- Brazil set off a tornado in Texas? 139th Lorenz, E.N. (1972). Predictability: does 3 An example of a true collaboration of cator, best known for her writings in Annual Meeting of the American the flap of a butterfly's wings in Brazil designer and weaver is Dovecot Studio, structuralist linguistics, psychoanalysis, Association for the Advancement of set off a tornado in Texas?139th Annual Edinburgh, with painters such as David semiotics, and philosophical feminism. Science (29 Dec 1972), in Essence of Meeting of the American Association for Hockney and Edwardo Paolozzi. Chaos (1995), Appendix 1, P. 181. the Advancement of Science (29 Dec 13 Kristeva, J. (1980) Desire in language: 1972), in Essence of Chaos (1995), 4 Correspondence between Deborah a semiotic approach to literature and 21 David Pye: Craftsman, theorist and Appendix 1, 181. Forbes and Ann Newdigate, 2018. art. Columbia University Press, Professor of Furniture at the Royal New York. P. 31. College of Arts from 1948–1974. Kristeva, J., ed. Toril Moi (1986). 5 Correspondence between Deborah Word, dialog and novel. The Kristeva Forbes and Jane Kidd, 2018. 14 Correspondence between Deborah 22 Pye, D. (2002). The Nature and Art Reader. New York: Columbia Forbes and Jane Kidd, 2018. of Workmanship. Cambridge, UK: University Press. p. 34-61. 6 Correspondence between Deborah Cambrian Press. P. 20 Forbes and Murray Gibson, 2018. 15 The term Coptic was originally the Kristeva, J. (1980) Desire in Language: Arabic term for the native Egyptians, REFERENCES A Semiotic Approach to Literature 7 Candee, H. C. (1912). The Tapestry but came to refer to the practicing and Art. Columbia University Press, Book. New York: Frederick Stokes and Christians in Egypt. Coptic art is art Berger, J. (2005). Berger on Drawing. New York. (http://file.scirp.org/ Company. P. 203. produced by the Copts. Cork Ireland: Occasional Press. Html/9-1761640_80627.htm)

8 Berger, John (1973). Ways of Seeing. 16 Correspondence between Deborah Clausen, V. et al. (1986). Tapestry: Mason, M. (2008). Complexity London: British Broadcasting Forbes and Ann Newdigate, 2018. Contemporary Imagery/Ancient theory and the philosophy of Corporation and Penguin Books. Tradition. United States, Canada, education. Philosophy of Education 17 Correspondence between Deborah United Kingdom. Spokane, WA: Society of Australia. Oxford, UK: 9 Berger, J. (2005).Berger on Drawing. Forbes and Jane Kidd, 2018. Cheney Cowles Memorial Museum. Blackwell Publishing. Cork Ireland: Occasional Press. P. 41 18 Genre code. Codes are systems of signs, Churchill, H. C. (1912). The Tapestry Pye, D. (2002). The nature and Art 10 Correspondence between Deborah which create meaning. Genre codes for Book. New York: Frederick Stokes of Workmanship. Cambridge, UK: Forbes and Murray Gibson, 2018. movies could be comedy, thriller, horror. and Company. Cambrian Press.

12 /// overandunderandoverandunder… Murray Gibson A Numbering of Days, 1994 153 x 92 cm Wool and silk

14 /// overandunderandoverandunder… overandunderandoverandunder… /// 15 Murray Gibson Annuciation: Conturbatio, Cogitatio, Murray Gibson Interrogatio, Revenge: Tereus, Murray Gibson Humiliatio, Philomela, Procne, Valkyrie: Web Meritatio, 1995 2014 of War, 2018 50 x 35 cm each 44 x 164 cm overall 45 x 117 cm Wool and cotton Wool and cotton Wool and cotton

Murray Gibson Murray Gibson Statue of Cross Town, 1991 LImitations, 1990 170 x 163 cm 170 x 160 cm Wool and silk Wool

16 /// overandunderandoverandunder… overandunderandoverandunder… /// 17 Murray Gibson Murray Gibson Unknowing, 2012 Plot, 2014 60 x 45 cm 44 x 44 cm Murray Gibson Wool and silk Wool and cotton Ariadne, 2018 with embroidered 57 x 47 cm Murray Gibson embellishment Wool and cotton Arachne, 2016 Collection of the 57 x 60 cm Alberta Foundation Wool and cotton for the Arts.

18 /// overandunderandoverandunder… overandunderandoverandunder… /// 19 Murray Gibson Murray Gibson The Lady of Babel, 1991 Shalott, 2008 157 x 155 cm 60 x 60 cm Wool Wool and cotton

MURRAY GIBSON ARTIST STATEMENT

I have been a tapestry artist for almost 35 years. During this time my artistic concepts, designs and technical approaches to weaving have changed and dev- eloped, but there is a common thread that runs throughout my practice; that is, my concepts and imagery are best realized as woven cloth, rather than being My most recent tapestries ARTIST BIO more suited to presentation in reference women of literature some other art form, or being and myth who are textile Murray Gibson studied woven “translations” of other practitioners; their practice in tapestry weaving at the Alberta artistic media, unless this some way involves life and College of Art and Design approach is the means to an death. The Three Fates (ACAD) with Jane Kidd, end rather than the end itself. spinning, measuring, and graduating in 1985. After ten cutting the Thread of Life are years of studio practice, I have often referenced other the primary example. Murray received his MA textile forms: Kente cloth Textiles from Goldsmith’s motifs, Middle-eastern kilim In these ways – directly College, London, UK in 1995. symbols, and traditional quilt referencing cloth and its In 2015, Murray was named and coverlet designs. I have making by means of my own a Master Artisan by Craft frequently used patterning for woven cloth – I hope that my Nova Scotia. Murray currently its decorative qualities; also artistic concepts have integrity teaches at St. Francis Xavier border elements directly as tapestries. University in Antigonish, NS. reference a European tapestry Murray’s tapestries have been tradition. I admire medieval I wish to acknowledge the exhibited across North America, tapestries for their aesthetic of financial support of an Arts in Poland and Australia. His flat pictorial space, and shape Nova Scotia Creation Grant tapestries – many commissioned and form articulated by classic to support my studio practice – hang in private, public, and tapestry weaving techniques. during 2016-18. corporate collections.

20 /// overandunderandoverandunder… overandunderandoverandunder… /// 21 Jane Kidd Wonderland Series: Folly, 2016 182 x 121 cm Wool, cotton, rayon, silk, linen

overandunderandoverandunder… /// 23 Jane Kidd Curiosities Series: Jane Kidd Jane Kidd Jane Kidd Pairing #2, 2013 Curiosities Series: Curiosities Series: Curiosities Series: Front and side view Pairing #6, 2013 Pairing #3, 2013 Pairing #4, 2013 66 x 56 cm 66 x 56 cm 66 x 56 cm 66 x 56 cm Wool, cotton, silk, Wool, cotton, silk, Wool, cotton, silk, Wool, cotton, silk, mounted on a mounted on a mounted on a mounted on a wooden board wooden board wooden board wooden board and shelf and shelf and shelf and shelf

24 /// overandunderandoverandunder… overandunderandoverandunder… /// 25 Jane Kidd Jane Kidd Land Sentence: Land Sentence: Arbour, 2009 Zoo, 2012 83 x 205 cm 99 x 200 cm Wool, cotton, Wool, cotton, rayon, silk, linen rayon, silk, linen Collection of the Collection of Salt Alberta Foundation Spring Island for the Arts. Public Library

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Jane Kidd Wonderland Series: Curiouser and Curiouser #2, 2015 46 x 183 cm Wool, cotton, rayon, silk mounted on a wooden shelf

JANE KIDD ARTIST STATEMENT destructive relationship to the world around us (Land As an artist, I explore ideas that Sentence Series 2009 – 2012). reference my experience of the More recently I have become world. I work almost exclu- increasingly interested in the sively with woven tapestry, use of technology to manipulate which I find to be a compelling and engineer the environment. medium because it provides a Recent advances now provide means to develop content the means to disrupt evolution- through imagery. I am drawn ary biology, altering genetic ARTIST BIO to the material identity of material to create genetically tapestry and committed to modified organisms, clones, and Jane Kidd taught at ACAD finding meaning and relevance hybrids. For a layperson such from 1980 – 2011 and has in the process of handwork. as myself, these developments exhibited in numerous solo are both intriguing and disturb- and over sixty group exhibitions For a number of years, ing (Curiosities Series: Pairings in Canada, the USA, Japan, I explored the implications #1, #2, #3, #4, #5 and #6, Poland, Hungary, and Australia. of accumulating, collecting 2012 – 2016 and Wonderland Kidd’s work is held in private and displaying objects from Series 2014 – 2017). and public collections including material culture and the natural Canada Council Art Bank, world. I examined the desire to My work reflects the complica- Department of Foreign Affairs, possess and assimilate nature tions and contradictions of Alberta Foundation for the into material culture through issues with which we live. Arts, and Canadian Museum its translation into decorative Through symbolic imagery, of History. She was elected to pattern, systems of notation, and materials and the labour inten- the Royal Canadian Academy collections (Possession Series sive process of hand weaving, of Art in 2001, awarded the 2005 – 08). I continue to explore I call attention to the precarious Alberta Craft Council Award an interest in human/nature nature of our environment. of Excellence in 2008, and the relationships, developing Ultimately, I hope my tapestries Saidye Bronfman Award imagery from technological will be seen as objects of (Governor General’s Award data including aerial and expressive and sensual beauty, for Visual and Media Arts, satellite photography, forms which celebrate the handmade Canada’s foremost distinction of technology that record the and encourage reflection on for excellence in the visual arts) result of our complex and often our changing world. in 2016.

28 /// overandunderandoverandunder… overandunderandoverandunder… /// 29 Ann Newdigate Familiars Series: Carrie A Cross Ann Newdigate inherited Familiars Series: considerable Sad Little property provided Coptic Ancestor, that she did not n.d. marry certain 28 x 23 cm people, n.d. Cotton warp, weft: 28 x 23 cm silk, linen, cotton, Cotton warp, weft: wool and synthetics silk, linen, cotton, wool and synthetics

overandunderandoverandunder… /// 31 Ann Newdigate Colonial Spinsters: Ann Newdigate They said that Colonial Spinsters: Miss May B. read Inexpicably too many books. Miss May B. But she did write went blind for the a history of her clan, Ann Newdigate Ann Newdigate duration of the which was published Constant Familiar Constant Familiar qualifying exam, posthumously by #2, n.d. #6, n.d. n.d. her aging aunt, n.d. 28 x 23 cm 28 x 23 cm 28 x 23 cm 28 x 23 cm Cotton warp, weft: Cotton warp, weft: Cotton warp, weft: Cotton warp, weft: silk, linen, cotton, silk, linen, cotton, silk, linen, cotton, silk, linen, cotton, wool and synthetics wool and synthetics wool and synthetics wool and synthetics

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Ann Newdigate Nowadays you Ann Newdigate Ann Newdigate Ann Newdigate don’t know who Good ancestors Regrets are Guilt is time to believe, 2016 are lucky, 2016 exhausting, 2016 consuming, 2016 61 x 46 cm 61 x 46 cm 61 x 46 cm 61 x 46 cm mixed watercolour, mixed watercolour, mixed watercolour, mixed watercolour, Ann Newdigate Ann Newdigate dry pencil crayons, dry pencil crayons, dry pencil crayons, dry pencil crayons, Familiars Series: Colonial Gents: and wax resist on and wax resist on and wax resist on and wax resist on Needle tears, n.d. Henry Settler, n.d. archival paper archival paper archival paper archival paper 28 x 23 cm 28 x 23 cm Cotton warp, weft: Cotton warp, weft: silk, linen, cotton, silk, linen, cotton, wool and synthetics wool and synthetics

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Ann Newdigate Back then they Ann Newdigate did not realize that A Constant ambition was an Familiar, 2016 option, 2016 61 x 46 cm 61 x 46 cm mixed watercolour, mixed watercolour, dry pencil crayons, dry pencil crayons, and wax resist on and wax resist on archival paper archival paper

Photo: S. Farrington

ARTIST BIO

Ann Newdigate holds degrees in African Studies and English

Ann Newdigate Literature from Cape Town They all intended to University, South Africa, and be celebs when they has a BFA and MFA from the grew up. But they University of Saskatchewan. never grew up, 2016 She completed a post-graduate 61 x 46 cm mixed watercolour, year in the Tapestry Department, dry pencil crayons, Edinburgh College of Art, and wax resist on ANN NEWDIGATE Scotland. She taught drawing archival paper ARTIST STATEMENT while inaugurating the tapestry department at Monash I believe that artists do not Images of faces reflect official University, Melbourne, choose to make tapestry. histories and private emotions. Australia, as the 1990 Visiting Now at a venerable age I con- Fellow. She has exhibited Tapestry chooses the artists. jure up, and combine, my internationally, representing Tapestry is a tyrant. childhood preoccupation with Canada in the Lodz Tapestry drawing and story telling. Triennial in Poland, and most But it is a generous tyrant that recently at Contemporary bestows many rewards, and Whether it be tapestry or Calgary in 2017–18. Her work even over time a little sanity. computer or watercolour that is collected internationally and chooses me it is the simplicity is held in numerous public Tapestry has nurtured my of mark making that feeds my collections including the interest in portraits. eye, my hands and my soul. Canada Council.

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LIST OF WORKS JANE KIDD MURRAY GIBSON 4. Colonial Spinsters: 9. Constant Familiar #3, n.d. 1. Wonderland Series: ANN NEWDIGATE Carrie A. Crosse inherited 28 x 23 cm 1. Statue of Limitations, 1990 Curiouser and Curiouser #2, considerable property provided cotton warp, weft: silk, linen, 173 x 160 cm 2015 Tapestries: medieval style that she did not marry certain cotton, wool and synthetics Wool 8. Plot, 2014 46 x 183 cm woven tapestry, constructed on people, n.d. 14. Nowadays you don’t know 44 x 44 cm Wool, cotton, rayon, silk a Melbourne, Victoria Tapestry 28 x 23 cm 10. Familiar Series: who to believe, 2016 2. Cross Town, 1991 Wool and cotton with mounted on a wooden shelf Workshop mini frame loom. cotton warp, weft: silk, linen, Needle Tears, n.d. 61 x 46 cm 170 x 163 cm embroidered embellishment cotton, wool and synthetics 28 x 23 cm Mixed watercolor, dry pencil Wool and silk Collection: Alberta Foundation 2. Curiosities Series: Pairing #2, 1. Familiars: Sad Little Coptic cotton warp, weft: silk, linen, crayons, and wax resist on for the Arts 2013 Ancestor, n.d. 5. Colonial Spinsters: cotton, wool and synthetics archival paper 3. Babel, 1991 66 x 56 cm 28 x 23 cm Miss Carrie A.Crosse was said 157 x 155 cm 9. Revenge: Tereus, Philomela, Wool, cotton, silk, mounted on cotton warp, weft: silk, linen, to have been a beauty, n.d. 11. Guilt is time consuming, 15. Regrets are exhausting, 2016 Wool Procne, 2014 a wooden board and shelf cotton, wool and synthetics 28 x 23 cm 2016 61 x 46 cm 44 x 164 overall cotton warp, weft: silk, linen, 61 x 46 cm Mixed watercolor, dry pencil 4. A Numbering of Days, 1994 Wool and cotton 3. Curiosities Series: Pairing #3, 3. Colonial Spinsters: cotton, wool and synthetics Mixed watercolor, dry pencil crayons, and wax resist on 153 x 92 cm 2013 6. Wonderland Series: Folly, Inexplicably Miss May B. went crayons, and wax resist on archival paper Wool and silk 10. Arachne, 2016 66 x 56 cm 2016 blind for the duration of the 6. Colonial Gents: archival paper 57 x 60 cm Wool, cotton, silk, mounted on 182 x 121 cm qualifying exam, n.d. Henry Settler, n.d. 16. Good ancestors are lucky, 5. Annunciation: Conturbatio, Wool and cotton a wooden board and shelf Wool, cotton, rayon, silk, linen 28 x 23 cm 28 x 23 cm 12. A Constant Familiar, 2016 2016 Cogitatio, Interrogatio, Woven while holding an Arts cotton warp, weft: silk, linen, cotton warp, weft: silk, linen, 61 x 46 cm 61 x 46 cm Humiliatio, Meritatio, 1995 Nova Scotia Creation Grant 4. Curiosities Series: Pairing #4, 7. Land Sentence: Arbour, 2009 cotton, wool and synthetics cotton, wool and synthetics Mixed watercolor, dry pencil Mixed watercolor, dry pencil 50 x 35 cm (each) 2013 83 x 205 cm crayons, and wax resist on crayons, and wax resist on Wool and cotton 11. Valkyrie: Web of War, 66 x 56 cm Wool, cotton, rayon, silk, linen 3. Colonial Spinsters: They 7. Constant Familiar #2, n.d. archival paper archival paper 2018 45 x 117 cm Wool, cotton, silk, mounted Collection of the Alberta said that Miss May B. read too 28 x 23 cm 6. The Lady of Shalott, 2008 Wool and cotton on a wooden board and shelf Foundation for the Arts many books. But she did write cotton warp, weft: silk, linen, 13. Back then they did not 17. They all intended to be 60 x 60 cm Woven while holding an Arts a history of her clan, which was cotton, wool and synthetics realize that ambition was an celebs when they grew up. Wool and cotton Nova Scotia Creation Grant 5. Curiosities Series: Pairing #6, 8. Land Sentence: Zoo, 2012 published posthumously by option, 2016 But they never grew up, 2016 2013 99 x 200 cm her aging aunt, n.d. 8. Constant Familiar #6, n.d. 61 x 46 cm 61 x 46 cm 7. Unknowing, 2012 12. Ariadne, 2018 66 x 56 cm Wool, cotton, rayon, silk, linen 28 x 23 cm 28 x 23 cm Mixed watercolor, dry pencil Mixed watercolor, dry pencil 60 x 45 cm 57 x 47 cm Wool, cotton, silk, mounted Collection of Salt Spring Island cotton warp, weft: silk, linen, cotton warp, weft: silk, linen, crayons, and wax resist on crayons, and wax resist on Wool and silk Wool and cotton on a wooden board and shelf Public Library cotton, wool and synthetics cotton, wool and synthetics archival paper archival paper

38 /// overandunderandoverandunder… overandunderandoverandunder… /// 39 overandunderandoverandunder… Three Contemporary Canadian Tapestry Artists Murray Gibson /// Jane Kidd /// Ann Newdigate

This publication was produced Guest Curator: Deborah Forbes by the Esplanade Art Gallery in Text: Deborah Forbes conjunction with the exhibition Publication coordination: overandunderandoverandunder... Joanne Marion Three Contemporary Tapestry Design: Kelly Hartman, Artists: Murray Gibson / Hartman Design Studio Jane Kidd / Ann Newdigate. Photography: Murray Gibson The exhibition was presented works: Jeffrey Parker at the Esplanade Art Gallery Jane Kidd works: John Cameron December 1, 2018 – Ann Newdigate works: January 26, 2019 Quana Parker Printing: Kallen Print Esplanade Arts and Heritage Centre 978-1-988813-06-6 401 First Street S.E. Medicine Hat, AB, Canada © City of Medicine T1A 8W2 Hat/Esplanade Arts and (403) 502-8580 / esplanade.ca Heritage Centre, 2019

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