6rm Tonal Fifths, dyed cane, plaited and twined, 25" x 21" x 7.5", 2017, $4,000
1rm After Haeckel II, Rachel Max, plaited and twined cane, 9” x 9” x 10”, 2015, $3,700
5rm Rippled Basket No.2, Rachel Max, dyed cane, plaited and twined, 7” x 12” x 10.5”, 2015, $3,750
2rm 10 x 10, Rachel Max, dyed cane, plaited and twined, 7.5” x 8.5” x 7.5”, 2015, $2,100
Selected collections and exhibition venues:
National Vlechtmuseum, Noordwolde, the Netherlands; Hove Museum, Brighton and Hove, UK (East Weaves West: Basketry from Japan & Britain, traveling exhibition, catalog); Hipotesi Gallery, Barcelona, Spain (solo exhibition); Pitt Rivers Museum, Oxford, UK (Soundweaves); Wardown Park Museum, Luton, UK; Petrie Museum, London; Crafts Council of Ireland, Kilkenny, Ireland (European Baskets, traveling exhibition); Sir Harold Hillier Gardens, Hampshire, UK; Somerset House, London, UK (Origins, UK Crafts Council); Business Design Centre, London, UK (New Designers); Oxfordshire Museum, Woodstock, UK (Oxfordshire Baskets, Then and Now); North Wall Arts Centre, Oxford, UK; Pinolere, Tenerife (British Baskets Now); Commonwealth Institute, London, UK (Studio Art Fair); River and Rowing Museum, Henley on Thames, UK. Education: Creative Basketry and Silversmithing; BA, Joint Honors: Metalwork and Art History, Camberwell College; Silversmithing, London Guildhall University; City & Guilds. Recipient: Selected Maker: Crafts Council Photostore; Barbara Maynard Cup, 2004, awarded by the Basketmakers Association for Achievement, Creative Basketry City & Guilds Part II.
3rm A Void II, Rachel Max, dyed cane, plaited and twined, 7” x 12” x 13”, 2007, $2,600
My interest in basketry grew out of experiments with the tactile and the textile properties of metals. While my background in metalwork remains an integral part of my work, the materials and techniques used in basketry enable me to create a fabric to shape sculptural forms. The fabric itself is a delicate grid structure forming an intricate network of lines that are interlinked. The weave creates the foundation of all my work. Pieces are often inspired by natural shapes, while the concept of containment and concealment is a long-standing interest of mine. I have developed a technique of layering to form structures that explore the relationship between lines and shadows and space. The materials used may vary; however, I have a particular penchant for fine cane, which has a delicacy that is pliable, with wire-like characteristics that suit the open-weave compositions that I have been exploring. The contrast of very regular patterns with looser weaves is a recurring theme. Color, the final stage, is the necessary ingredient that unifies the process; it is paramount to my work.