Sangmin Oh Illuminates Otherworldly Textiles in His Sculptural ‘Knitted Light’ Series

image © Sangrim Oh

Supple textures meet bold hues in Sangmin Oh’s elegant Knitted Light series. Drawn to relationships between sculptural forms, textile techniques, and architectural elements, the Netherlands and Korea-based artist developed a collection of soft lamps designed to suspend from the ceiling or sit on chunky, rough-hewn pedestals.

Oh founded Osangmin Studio in 2021, which “focuses on observing trivial and small empty spaces” like the corners of rooms or nondescript alcoves that can be elevated with the addition of color, shape, and illumination.

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The Devonshire Hunting Tapestries

The Devonshire Hunting Tapestry: Falconry, 1430-1440, probably made in Arras, France, Victoria and Albert Museum, London, UK. Detail.


The Victoria and Albert Museum acquired the tapestry set in 1957 from the house of The Dukes of Devonshire. The estate probably first belonged to the Countess of Shrewsbury (known as “Bess of Hardwick”). Bess built Hardwick Hall, part of the Derbyshire house, in the 1590s.

During the medieval and Renaissance periods, tapestries were valued more than traditional works of art. Although they took time to make, they were easy to transport, making them a popular form of art until the 17th century. Since medieval castles were made of stone, tapestries hung on the walls provided insulation, making them both functional and decorative pieces. As a plus, their narrative scenes were visual entertainment for owners and guests.

However, the hunt was among the most popular scenes depicted in tapestries. The theme of hunting was both a social event and a social need for food. But why were they so extravagant?

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A Border Artist’s Vision of Inheritance and Trauma

Griselda Rosas, “Buena suerte, dijo el gafe” (2020–21), embroidery over faux ostrich skin and acrylic, 48 x 58 inches (framed)

LA JOLLA, Cali. — Born in Tijuana in 1977, artist Griselda Rosas has her ear to the ground on both sides of the California-Mexico border, listening intently to the eternal stories of conquest, colonization, and conversion. The stories flow into drawings and sculptures, multilayered imagery in which thread, paint, and collage combine to create an almost archaeological presentation of hybrid cultures and histories.

Rosas, who earned an MFA at San Diego State University and teaches art at a local community college, is experiencing a “sort of emergence” as Jill Dawsey, senior curator at the Museum of Contemporary Art San Diego, told Hyperallergic in a phone conversation. The artist’s first solo show, Yo te cuido (“I take care of you”), is currently on view at the museum’s La Jolla location. According to Dawsey, the title is an expression of care and concern as well as a promise of protection. It springs, in large part, from Rosas working with the positioning of objects such as slingshots and toy soldiers as both actual toys and symbols of war, colonization, and cultural fragmentation.

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Using Red Thread, Rima Day Intertwines History, Nature, and Human Experience in Striking Embroideries

Image © Rima Day

Pondering the beguiling aspects of human experience, artist Rima Day (previously) embroiders a labyrinth of undulating root systems and sinuous veins. The Tennessee-based artist entwines fleeting sentiments of humanity with bodies and nature, using a range of surfaces that converse with red thread. “I imagine that the needle for me is like a writer’s pen. The shape represents the transience and vitality of the human mind and body, but at the same time, I suggest the similarity to trees and other aspects in nature,” she tells Colossal.

Cascading across a cyanotype, surging from the center of a delicate corset, or proliferating from the gutter of an open book, each of Day’s fiber iterations call to the notion of connection. “I felt like if I could see love, this is how it should look like,” she says. “Just like tree roots or blood vessels, my thread matrix split into thinner appendages as if to absorb or distribute nutrition. It translated into human passion and desire in my mind.” Although these threads formally mimic capillary connections and circulatory systems, they simultaneously ponder the microcosmic relationship between emotions and the entangled pathways that frame our world and bodies.

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Amanda Cobbett Embroiders Realistic Likenesses of Fungi and Flora in Stunning Detail

Image © Amanda Cobbett

With a keen eye for detail and a passion for nature, Amanda Cobbett embroiders hyper realistic fungi, mosses, and lichen with painstaking precision (previously). Taking between one to two weeks to complete, each piece is inspired by flora found around the U.K., which she collects, studies, and recreates with fiber in her Surrey Hills studio. Most recently, the artist has focused on samples found in the Scottish Borders for an upcoming exhibition, which she says is “the result of a year’s worth of work, and includes even more intricacy than previously made embroideries…It is a snapshot in time but includes a huge amount of variety in color, texture, and new forms.”

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‘The Flower of Tujia’ Weaves History and Culture Through 150,000 Meters of Red Brocade Thread

the installation at the China Tujia Brocade Art Museum displays symmetrical patterns of red brocade threads. Image © YI+MU


Two steel staircases connected by two platforms create a vertical passage, integrating with the installation itself. The design draws from the hexagonal shape found in Xilan Kapu patterns featuring warm colors and a rigorous structure dominated by geometric symmetry and repeating diamond shapes and diagonal lines. The linear structure of the staircases and the outer steel framework stand on a raised floor and along with the woven patterns invite visitors to engage with the space.

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Dense Embroideries Map Celestial Expanses and Abstract Landscapes by Lindzeanne

Image © Lindzeanne

“I’m motivated to make my work as a way of mapping myself and mapping my space,” says Lindsey Gradolph, who works as Lindzeanne. An ex-pat for nearly 20 years who is currently based in Tokyo, the artist finds solace in her freehand embroidery practice that produces dense, expressive planes of texture and color. “Sometimes there can be an uncanny feeling of being completely untethered, so I’m creating my own, familiar-to-me topography,” she tells Colossal. “I like to think of each of my pieces as its own little universe, whether that be internal or external. Someplace unfamiliar but perhaps closer than we think.”

Lindzeanne began stitching in order to upcycle clothing, a practical hobby that quickly became more of a drawing practice. Embroidery floss isn’t common in Japan, so the artist instead picked up basic hand-sewing and traditional sashiko threads that she stitches into second fabrics—she references mottainai, the Japanese term that translates to “waste nothing.” “Both those types of thread aren’t particularly useful for creating figurative illustrations or images, so that led me to experiment with different ways of filling a space or creating a design,” she says.

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