24hs Shindigo Square Series, Hiroyuki Shindo, linen, handspun and handwoven, indigo, 60" x 62", 1993, $7,500
21hs Hemp & Cotton, Hiroyuki Shindo, linen, handspun and handwoven, indigo dye, 82" x 44", 1998, $6,000
1sh Medium Indigo Thread Balls, Hiroyuki Shindo 15cm, linen, cotton, indigo dye, BACKORDERED
St. Louis Art Museum, Missouri; Cleveland Museum of Art, Ohio; Museum of Art and Design, New York, New York; Museo de Arte Carrillo Gil, Mexico City, Mexico; North Dakota Museum, Grand Forks; St, Louis Art Museum, Missouri; Stedelijk Museum, Amsterdam, the Netherlands; De Young Museum of Art, San Francisco, California; LongHouse Reserve, East Hampton, New York; Seiryu-kai Collection, Kyoto, Japan; The Brighton Museum, UK; The Whitworth Gallery, Manchester, UK; Canadian Museum of Cvilization, Gatineau, Canada; Rotterdam Museum, the Netherlands; National Israel Museum, Jerusalem. Exhibition venues: Museum of Modern Art, New York, New York (Structure and Surface: Contemporary Japanese Textiles – traveling exhibition); Art Institute of Chicago, Illinois; Stedelijk Museum, Amsterdam, the Netherlands; the Israel Museum, Jerusalem (Textile Magicians); Dennos Museum Center, Traverse City, Michigan; Museum of Textiles, Toronto, Canada; Museum of Fine Arts, Boston, Massachusetts; Textile Museum, Washington, DC (Blue); Canadian Craft Museum, Vancouver (Cobalt and Blue); Musée de Somé, Kyoto, Japan; Ukranian Institute of Modern Art, Chicago, Illinois (Indigo Bridging Culture).
Indigo Box with Yellow Ball, Hiroyuki Shindo, linen, handspun, and handwoven, indigo, 9" x 9" x 9", 2002, Sold
I have developed my own system for indigo dyeing, which utilizes wide flat troughs in which I lay small stones. As I pour the dye into the trough, I watch carefully as the indigo is drawn slowly into the fabric. The resulting gradations of hues of blue from nearly invisible shadows to areas of nearly black are a happy combination of natural process and my own invention.
In my exploration of indigo dyeing I have discovered that the white in each work whether handwoven cotton or linen or a mixture of both is as great a concern as the dyed portion. If the white is not brilliant enough, or the undyed portion is not of the right proportion, the balance is broken, and so I insist: white is as important to my work as is indigo.
Textile Magicians from Cristobal Zanartu