39sp Falaise 4, Simone Pheulpin, cotton, 10.75" x 12.5" x 7", 2012, $9,400
14-15sp Megalith IV, V, Simone Pheulpin, cotton, slate base, 2001, 34.5" x 9" x 8", 88 x 23 x 20 cm, 35.5"x 10" x 10", 90 x 25 x 25 cm, $8,800 each
29sp Detail Soleil D'Hiver
Selected collections and exhibition venues:
Textile Museum, Ventron. France (solo exhibition); Cultural Center of Textile Art, Angers, France; Textile Museum of the Netherlands, Tilburg; Museum Bellerive, Zurich, Switzerland; National Museum of Decorative Arts, Trondheim, Norway; Center for the Arts, Pittsburgh, Pennsylvania (Fiberart International); Lausanne, Switzerland (13th International Biennial of Tapestry); Savaria Museum, Szombathely, Hungary (7th and 9th International Biennials of Miniature Textiles); Central Museum of Textiles, Lodz, Poland; (8th, 11th International Triennials of Tapestry) Kyoto, Japan (3rd International Textile Competition); Decorative Arts and Textile Museum, Lyon, France. Recipient: 1st Prize, 9th International Biennial of Minatures; 2nd Prize, Fiberart International, Pennsylvania; First Prize, Biennial Women in Textile Art, Miami, Florida; Gold Medal, 52 International Crafts Fair, Munich, Germany.
13-14-15sp Detail, Megalith IV, V, VI
The fold is the motion. The eye can follow the paths taken by the sheath as the cloth meanders and winds about. The fold is the shape of memory itself. It narrates what is happening. It tells what took place here and there. The fold is not an image, it is an act. In this multiplication of folds and these gestures repeated again and again lies the memory of motion. Whether the folds are tight or loose, regular or irregular, the technique of folding implies compressing, tightening, and bending the material upon itself. Depending upon the style of fold, the results look different: scenes of rocky landscapes with faults running through; effects of clusters of dapples; simulacra of foam or froth; impressions of fossils.