15cb Pathways of Desire, Caroline Bartlett,
block printed, manipulated, stitched, heat-set polyester, cotton thread,
55" x 25.5"; 139.75cm x 65cm, 2009, $6,400
16cb Listening In Caroline Bartlett, mixed media; wooden rings stretched with archival crepeline, wool, linen tape, perspex,
2.75" x 17" x 17"; 5" x 17" x 17"; 6" x 17" x 17", 2011, $5,600
14cb All These We Knew, Caroline Bartlett, block, printed, pleated, stitched linen, crochet. Cotton and rayon thread, 80" x 12", 2008, $6,200
7cb Textus, Caroline Bartlett, discharge, dyes and pigments, handpainted, pleated and stitched, silk and cotton thread, 184" x 62", 1999, $17,500
9cb Mnemonic, Caroline Bartlett, wooden canvas stretchers, battening, stretched linen, pigment, 16" x 52", 2003, $4,600
Selected collections and exhibition venues:
Victoria & Albert Museum, London, UK (In Context; permanent collection); Whitworth Art Gallery, Manchester, UK (commission); Linden Arts Centre, Melbourne, Australia (Sculpted Surface); Museum of Contemporary Folk Art, San Francisco, California (Ragged Beauty: Repaired Textiles and other Objects); Bankfield Museum, Halifax, UK (A Collective Response; permanent collection); Hove Museum & Art Galler, UK (Tracing Threads); Embroiders’ Guild National Collection, London, UK; Tullie House Museum and Art Gallery, Carlisle, UK (Material Spaces); Millennium Galleries, Sheffield, UK (Of Material Concern); Museum in the Park, Stroud, UK (Traces and Echoes); Bury St. Edmunds Art Gallery, Suffolk, UK (Arttextiles I & II, traveling exhibitions); Collins Gallery, Glasgow, UK (The Language of Touch); Orleans House, Leighton House, London, UK (The Artist’s Journey, traveling exhibition).
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12" x 30" x 1" can also be installed on angled wall, 2001, $1,350
Statement
My recent work has focused on the act of collecting and archiving, and on the overwriting of histories. As a result, processes of erasing and reworking, folding and unfolding, have become central to both ideas and working methods, permeating responses to other stimuli - such as recent visits to Japan and Australia. A preoccupation with the tactile and its connections with memory continue to be an ongoing concern while the use of print as a means of marking cloth, and a continuing involvement in stitch and manipulation techniques provide me with a working vocabulary and the means by which I process and articulate ideas.
Caroline Bartlett
