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Jorie Johnson hen art and fashion intersect there is sometimes a disconnect. The creativity of Jorie Johnson’s art, interpreted exquisitely inW fashion, dissolves any doubt of the importance of the combination. The Boston-born and Rhode-Island- School-of-Design-educated artist has based herself in Japan for over 26 years. She has developed a unique style that interprets the beauty of the traditional and intertwines it seamlessly with contemporary innovations. JORIE Internationally recognized as a felting artist, she divides her time between teaching and creating small-scale felted, JOHNSON abstract, playful fiber sculptures and : one-of-a-kind wearable art collections. The expressiveness of her garments Expressing Culture and accessories incorporate her blending and manipulation of fibers. Through Laminated Felt Her designs create drape and flow with a lyrical sense of motion BY TRUDI VAN DYKE that enhances and highlights the beauty of her materials. Her wearables can be described as sculpture presented using models as her pedestals. The challenge she presents herself is to produce garments without stitching. “... because it’s always a gamble Her work is calm and muted and Jorie reflects that she is sensitive to see what you will get.” to the influences of the Japanese culture on those who buy her art and she considers that in what she designs. Internationally exhibited fiber artist, Candace Edgerley remarks, “I am drawn to the playfulness of her use of line, shape, and color, which JOHN ROBERT WILLIAMS JOHN ROBERT exhibits a modern sensibility while retaining a respect for traditional techniques.” Jorie explores the capabilities of THIS PAGE: Black wool fibers by using lamination Winged Vessel; 2004; techniques that she continues wool, skeletal leaves, mohair yarn, flax, kudzu fabric, to develop. She uses silks, linens, Japanese Urushi lacquer; and cottons along with wool. She feltmaking, Japanese lacquer describes creating layers utilizing an (lacquer artist: Clifton Monteit, Lake Ann, MI); understanding of what fibers will do 5 1/4 x h7 1/2 x 4 1/2 in.; with changes in pH, temperature, Collection of the Cooper and vibrations. She must also consider Hewitt Smithsonian Design Museum, NYC. the sheep breeds that provide the surface fabric, merino blends that range from dense to silky. The selected wool fibers become entangled with her choice of OPPOSITE PAGE: YUZO TOYODA View materials such as washi paper, cottons, laces, and natural leaves. Although the From Train Window Rug Series, Green; 2008; process cannot be seen with the naked eye, she describes it as “the surface of a wool; 5 ft. 1 in x 3 ft. 5 in. fiber wall opening like hooks and piercing auxiliary layers of flax or silks as it shrinks.” The resulting blend of materials is a unique form of felt. 24 FIBERARTNOW.NET • SPRING 2015 SPRING 2015 • FIBERARTNOW.NET 25 LEFT: Aurora Borealis Ensemble (Catch a To achieve fine fabrics she uses thin layers of batt and for loftier Shooting Star Hat, Long felt she utilizes thicker layers of coarser carded wool. After Coat, Leg Covers); 2002; wool, mohair/rayon novelty yarn, the design is created and shrinkage considered, she holographic fiber, polyester works with the wet wool over the course of a few hair extension, metallic/rayon days. The timing is crucial so that the materials will fabric, leather; feltmaking; Collection of the San Francisco not begin to break down. Jorie explains that the Museums deYoung. spontaneity of creation is enhanced “because it’s always a gamble to see what you will get.” BELOW: Hello China Rose (two pieces) 2012; wool, solid Her recent solo exhibition, Vertical, Horizontal and printed cotton and silk fabric, metallic ribbon. and All Around, at the Gallery Nishikawa (Kyoto, February 2015) highlighted a new series FAR BELOW: Wool & Washi of silk and wool fiber. Series: Shrink Wrap; 2011; wool, Japanese washi, non- A self-directed and thoughtful artist, Jorie delves woven polyester “furoshiki” wrapping fragment, paper thread, beyond seasonal collections of one-of-a-kind plexiglass frame with stainless garments and collaborates with colleagues for screws, re-wrapped tea tin from inclusions in exhibitions. One such collaboration Ippodo, Kyoto; feltmaking; acrylic with American paperwork artist Sarah Brayer, frame: 13 3/4 x 5 7/8 x 3 1/4 in., tea tin: 3 x 2 1/4 in. diam. who also maintains a studio in Kyoto, is currently on display in San Francisco. The exhibition,Celestial RIGHT: Sunset Over Uji Threads, at the Asian Art Museum until April 4, River Ensemble (Cape, Gown); 2014; wool, dyed, 2015, is a thoughtful interplay of commonalities clamped and scoured silk fabrics. connecting two traditional ancient arts: Johnson’s laminated felt and Brayer’s large scale poured washi paper. Johnson describes Celestial Threads as “a succinct show of modern felt and washi applications.” Of note are the lunar themes of Brayer’s Crescent Moon coinciding with the hemisphere balance of Johnson’s Aurora Borealis. The artists hope to be able to exhibit Celestial Threads in other venues in North America and Europe.” Well respected as a researcher and professor at several universities throughout Japan, Johnson was invited to assist with research at the Shoso-in Repository of eighth century artifacts. The ongoing project is examining and advising on animal fibers and techniques in the collection. She has been recognized for her work by the Japan Textile Designers Association and is the principal of Joi Rae designs. You can view more of her work at www.joirae.com. YUZO TOYODA Trudi Van Dyke is an independent fine art curator and arts consultant specializing in fine craft and fiber. She can be reached at [email protected]. YUZO TOYODA YOU KOBAYASHI YOU YUZO TOYODA 26 FIBERARTNOW.NET • SPRING 2015 SPRING 2015 • FIBERARTNOW.NET 27.
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