Web Features:
http://www.postdiluvianphoto.com/blog/2011/09/09/old-notions-2868/
http://hifructose.com/the-blog/1362-stand-tall-pt-2-at-old-crow.html
http://www.examiner.com/fashion-in-oakland/exhibit-at-pretty-penny-by-local-artists-diana-krell-and-marin-camille-hood
http://www.mrxstitch.com/2010/07/18/stitchgasm-marin-camille-hoods-meat/
http://readymadeblogs.mydevstaging.com/blogs/culture//2010/06/
http://www.artbusiness.com/1open/061810.html
http://blog.craftzine.com/archive/2010/03/crochet_jar_lamps.html
http://hautenature.com/marin-camille-hood-bicycle-chandeliers/
http://www.recyclart.org/2010/02/recycled-works-by-marin-hood/
http://regator.com/hobbies/crafts/
http://www.weloveindie.com/
http://www.coolcraftsites.com/
http://www.crafts-kids.info/crafts-news-and-projects/crochet-jar-lamps/
http://www.ecostreet.com/blog/category/green-art/
http://www.wikio.com/leisure/crafts
http://b1withearth.com/tag/sustainability/page/2/
http://www.buzztracker.com/story/b066ade063426e1e64ddb901/developers
http://www.ecocentra.org/news
-------------------------------------------------------------------------------------------------------------------------------------------------------------------
Marin Camille Hood’s Whimsical Needlepoint Art Makes the Macabre Magical
Interview with Hayley Elisabeth Kaufman 06.21.2010
http://readymadeblogs.mydevstaging.com/blogs/culture//2010/06/
With the magical talent of taking a decidedly grandma-centric medium and making it delightfully sinister, Oakland, California-based artist Marin Camille Hood’s artwork is a whimsical take on the spinster’s favorite medium, needlepoint. I have been a long-time fan of Hood’s precious-yet-macabre sensibility, which includes skeletal renderings of prehistoric creatures, deceptively sweet embroideries depicting slaughtered deer, and human bones juxtaposed on a delicate floral backdrop. Her latest show “These Souvenirs: Embroideries by Marin Camille Hood,” which opens Friday June 18 at the BellJar Gallery in San Francisco, will feature a carefully curated selection of her latest work, including a unicorn in skeletal form. I recently had the chance to meet up with Hood to discuss what inspires her and informs her unique craft.
How did you come up with the idea to use needlepoint as a medium for your art?
MCH: I’ve always been a sewer with a love of fabric and notions, but never considered bringing it into my fine art practice until a few years ago. I was working at a small museum in Berkeley called the Magnes, which, at the time, was hosting a traveling exhibition called “Through the Eye of the Needle: Fabric Art of Esther Nisenthal Krinitz”. It was made up of 36 story quilts, describing the artist’s escape from Nazi Germany as a little girl, which were originally made as gifts for her own children. I was deeply moved by the idea of this woman’s painful history being recorded in such a beautiful and traditional way, and engrossed by the meticulousness and care she took in creating each panel. This inspiration, along with seeds planted in my feminist art history education, I fell in love with the idea of using such a culturally loaded skill, passed down through generations to my mother and to me, as a tool for telling darker stories. The medium seemed to have such a capacity for subverting expectations, both in choices of subject, and in the simple act of putting needlework on a gallery wall.
Are there any reoccurring themes that you explore with your art?
MCH: My embroideries tend to deal with the corporeal, particularly what lies under the skin. I’ve found that simple images of bones, meat, and organs, can become layered metaphors when rendered in thread. Some of my works have what I hope is subtle political or social content, particularly the hunting and meat images, yet they also speak to a more ambiguous personal symbolism. In trying to be more specific, I’d say I tend to focus on death, literal or otherwise, as a tool to talk about other things. Ultimately for me, it becomes about the reactions to my work. My hope is that in using such a loaded medium in conjunction with these images, the pieces become more about what other’s preconceptions bring to the dialogue, then about any of my own agendas.
Can you tell me a little about your background? How did you get your start in art?
MCH: I grew up with it. My father is an artist of many capacities, and both of my parents are musical, eccentric folks who encouraged my creativity. I never really thought of myself as an artist though until much later. With the encouragement of friends, and my first boyfriend, who is also an artist of many talents, I started taking art classes at Mills College in Oakland. I had always been a very creative person, but it was strange to find how afraid I was to put myself out there. With a little nerve and so many wonderful people to draw inspiration from, I finally honed my own voice and decided it was worthy of being heard.
How would you describe the Bay Area art scene? What makes it so unique?
MCH: I really think there is something for everyone here. The Bay is such a culturally rich place, with amazing museums and some fantastic, very established galleries. With all that as a foundation for growth and learning, I think my favorite part is how flooded this place is with young artists creating collectives, opening galleries anywhere they can, and really becoming part of the larger dialogue. Oakland’s Art Murmur has gotten so popular they have to close off the streets. I feel very lucky to live in a place that is teeming with active, creative people—there is always so much to feel inspired and challenged by, which is a great reminder to participate.
How did you formulate your aesthetic point of view? How has your art evolved over time?
MCH: I’ve always been drawn to an Old World aesthetic. I love using antique frames for the embroideries, as they bring a nostalgic and domestic sense to the images. There is something magical about old things, and not necessarily pristine antiques, but dusty objects that have had many owners and carry their history like a lovely secret. Aside from hunting for frames at flea markets and such, I previously used all sorts of found objects in my sculpture and crafting endeavors. While at Mills, I began a series of chandeliers, or light sculptures and installations, mostly with bicycle wheels, but also using everything from mason jars to bricks to play with light aesthetically. I like to think about the objects’ cultural histories as well, and how that plays into my use of them.
You juxtapose needlepoint—a very quintessentially domestic and feminine medium—with images of animal bones, meat, and skeletons. What statement is your art making? What message are you trying to convey with your pieces?
MCH: I like the unexpected nature of these subjects within the medium. I suppose at the heart of it, I want to subvert expectations of craft and gender in a way that invites positive dialogue. There is so much negativity around the subject of gender, and I’ve found that having a sense of humor and a little compassion makes it a much more desirable and productive topic of discussion. Despite the pervasive notion that we live in a post-feminist era, I feel we have only seen the tip of the iceberg in terms of deconstructing a history of subjugation, which truly affects us all. So I guess this is my small, very personal contribution to that story.
If you weren’t making art, what would you be doing?
MCH: I’d most certainly be watching lots of movies (which I do while embroidering anyway), grabbing drinks with friends, and working on other sewing projects. Ultimately though, I’d like to be traveling.
Do you have any new projects in the works that we should look out for?
MCH: I am currently planning a small collection of vintage-inspired, handmade lingerie. I’m still in the envisioning phase and growing the roots of this idea, but am incredibly excited about making it happen. I hope that once I am able to make this my creative focus and get into production that this tiny business idea will grow into something much larger.
What inspires your work?
MCH: Intellectually, I would say I was inspired by my education at an amazing women’s college and the resulting dialogues with friends and other people making this kind of work. But I really have to attribute most of my inspiration to my upbringing and all the wonderful creative people in my life—I’ve always wanted to contribute to the creative sparks that were flying around me. Also, there is something just lovely and nourishing to the spirit about curling up in my armchair, keeping my cat company, and stitching away at some gruesome thing or another.
http://www.postdiluvianphoto.com/blog/2011/09/09/old-notions-2868/
http://hifructose.com/the-blog/1362-stand-tall-pt-2-at-old-crow.html
http://www.examiner.com/fashion-in-oakland/exhibit-at-pretty-penny-by-local-artists-diana-krell-and-marin-camille-hood
http://www.mrxstitch.com/2010/07/18/stitchgasm-marin-camille-hoods-meat/
http://readymadeblogs.mydevstaging.com/blogs/culture//2010/06/
http://www.artbusiness.com/1open/061810.html
http://blog.craftzine.com/archive/2010/03/crochet_jar_lamps.html
http://hautenature.com/marin-camille-hood-bicycle-chandeliers/
http://www.recyclart.org/2010/02/recycled-works-by-marin-hood/
http://regator.com/hobbies/crafts/
http://www.weloveindie.com/
http://www.coolcraftsites.com/
http://www.crafts-kids.info/crafts-news-and-projects/crochet-jar-lamps/
http://www.ecostreet.com/blog/category/green-art/
http://www.wikio.com/leisure/crafts
http://b1withearth.com/tag/sustainability/page/2/
http://www.buzztracker.com/story/b066ade063426e1e64ddb901/developers
http://www.ecocentra.org/news
-------------------------------------------------------------------------------------------------------------------------------------------------------------------
Marin Camille Hood’s Whimsical Needlepoint Art Makes the Macabre Magical
Interview with Hayley Elisabeth Kaufman 06.21.2010
http://readymadeblogs.mydevstaging.com/blogs/culture//2010/06/
With the magical talent of taking a decidedly grandma-centric medium and making it delightfully sinister, Oakland, California-based artist Marin Camille Hood’s artwork is a whimsical take on the spinster’s favorite medium, needlepoint. I have been a long-time fan of Hood’s precious-yet-macabre sensibility, which includes skeletal renderings of prehistoric creatures, deceptively sweet embroideries depicting slaughtered deer, and human bones juxtaposed on a delicate floral backdrop. Her latest show “These Souvenirs: Embroideries by Marin Camille Hood,” which opens Friday June 18 at the BellJar Gallery in San Francisco, will feature a carefully curated selection of her latest work, including a unicorn in skeletal form. I recently had the chance to meet up with Hood to discuss what inspires her and informs her unique craft.
How did you come up with the idea to use needlepoint as a medium for your art?
MCH: I’ve always been a sewer with a love of fabric and notions, but never considered bringing it into my fine art practice until a few years ago. I was working at a small museum in Berkeley called the Magnes, which, at the time, was hosting a traveling exhibition called “Through the Eye of the Needle: Fabric Art of Esther Nisenthal Krinitz”. It was made up of 36 story quilts, describing the artist’s escape from Nazi Germany as a little girl, which were originally made as gifts for her own children. I was deeply moved by the idea of this woman’s painful history being recorded in such a beautiful and traditional way, and engrossed by the meticulousness and care she took in creating each panel. This inspiration, along with seeds planted in my feminist art history education, I fell in love with the idea of using such a culturally loaded skill, passed down through generations to my mother and to me, as a tool for telling darker stories. The medium seemed to have such a capacity for subverting expectations, both in choices of subject, and in the simple act of putting needlework on a gallery wall.
Are there any reoccurring themes that you explore with your art?
MCH: My embroideries tend to deal with the corporeal, particularly what lies under the skin. I’ve found that simple images of bones, meat, and organs, can become layered metaphors when rendered in thread. Some of my works have what I hope is subtle political or social content, particularly the hunting and meat images, yet they also speak to a more ambiguous personal symbolism. In trying to be more specific, I’d say I tend to focus on death, literal or otherwise, as a tool to talk about other things. Ultimately for me, it becomes about the reactions to my work. My hope is that in using such a loaded medium in conjunction with these images, the pieces become more about what other’s preconceptions bring to the dialogue, then about any of my own agendas.
Can you tell me a little about your background? How did you get your start in art?
MCH: I grew up with it. My father is an artist of many capacities, and both of my parents are musical, eccentric folks who encouraged my creativity. I never really thought of myself as an artist though until much later. With the encouragement of friends, and my first boyfriend, who is also an artist of many talents, I started taking art classes at Mills College in Oakland. I had always been a very creative person, but it was strange to find how afraid I was to put myself out there. With a little nerve and so many wonderful people to draw inspiration from, I finally honed my own voice and decided it was worthy of being heard.
How would you describe the Bay Area art scene? What makes it so unique?
MCH: I really think there is something for everyone here. The Bay is such a culturally rich place, with amazing museums and some fantastic, very established galleries. With all that as a foundation for growth and learning, I think my favorite part is how flooded this place is with young artists creating collectives, opening galleries anywhere they can, and really becoming part of the larger dialogue. Oakland’s Art Murmur has gotten so popular they have to close off the streets. I feel very lucky to live in a place that is teeming with active, creative people—there is always so much to feel inspired and challenged by, which is a great reminder to participate.
How did you formulate your aesthetic point of view? How has your art evolved over time?
MCH: I’ve always been drawn to an Old World aesthetic. I love using antique frames for the embroideries, as they bring a nostalgic and domestic sense to the images. There is something magical about old things, and not necessarily pristine antiques, but dusty objects that have had many owners and carry their history like a lovely secret. Aside from hunting for frames at flea markets and such, I previously used all sorts of found objects in my sculpture and crafting endeavors. While at Mills, I began a series of chandeliers, or light sculptures and installations, mostly with bicycle wheels, but also using everything from mason jars to bricks to play with light aesthetically. I like to think about the objects’ cultural histories as well, and how that plays into my use of them.
You juxtapose needlepoint—a very quintessentially domestic and feminine medium—with images of animal bones, meat, and skeletons. What statement is your art making? What message are you trying to convey with your pieces?
MCH: I like the unexpected nature of these subjects within the medium. I suppose at the heart of it, I want to subvert expectations of craft and gender in a way that invites positive dialogue. There is so much negativity around the subject of gender, and I’ve found that having a sense of humor and a little compassion makes it a much more desirable and productive topic of discussion. Despite the pervasive notion that we live in a post-feminist era, I feel we have only seen the tip of the iceberg in terms of deconstructing a history of subjugation, which truly affects us all. So I guess this is my small, very personal contribution to that story.
If you weren’t making art, what would you be doing?
MCH: I’d most certainly be watching lots of movies (which I do while embroidering anyway), grabbing drinks with friends, and working on other sewing projects. Ultimately though, I’d like to be traveling.
Do you have any new projects in the works that we should look out for?
MCH: I am currently planning a small collection of vintage-inspired, handmade lingerie. I’m still in the envisioning phase and growing the roots of this idea, but am incredibly excited about making it happen. I hope that once I am able to make this my creative focus and get into production that this tiny business idea will grow into something much larger.
What inspires your work?
MCH: Intellectually, I would say I was inspired by my education at an amazing women’s college and the resulting dialogues with friends and other people making this kind of work. But I really have to attribute most of my inspiration to my upbringing and all the wonderful creative people in my life—I’ve always wanted to contribute to the creative sparks that were flying around me. Also, there is something just lovely and nourishing to the spirit about curling up in my armchair, keeping my cat company, and stitching away at some gruesome thing or another.
