Sunday, March 02, 2014

Linnea Glatt

Nature's Morse 2013, Thread on sized mulberry paper - set of 5 at 18 x 18" re-post of my past article

Last month I had the pleasure of dropping by Barry Whistler while they were officially closed. The gallery was installing a show titled Incre-Mental by artist Linnea Glatt. I came in unannounced and uninvited, however, as I stumbled in I was greeted by Linnea Glatt. She was sitting at a table and attempted to work out the display of her shredded books. I wasn't chased out, but rather given a personal tour by Glatt and this was even before I mentioned that I wrote for

I say shredded, but really these books are carefully disassembled textiles that have had each page de-threaded. I can imagine all those Derridans getting a chuckle out of Glatt’s approach of deconstructing the book. Eventually the books were displayed along the brick wall on Barry Whistler’ s long white table. The act of pulling the threads also applied to a series of square textiles in frames in the same room as the books. Visually these four pieces told a story about Glatt’s process. You could tell there was a system involved that allowed her to find her stopping points. For me, pulling thread would be an enjoyable pastime, but I would never end up with an interesting product. Where I would fail, Glatt accomplishes not only sublime, quite minimal images, but also she manages to create in her work a simple narrative. With my Western tendencies, I read these works right to left which leads to a path of destruction. With a title like De-construct, she intends for you to read it this way. Glatt’s objects move from a simple cross shape in the first work to various rectangles that could be a white painting by Piet Mondrian in the last piece.

In the main gallery, Glatt has created a large work that uses two pieces of paper sewn together, which creates a seam right down the middle of her work. Glatt said she wanted to work with this paper, but she could not find the size she needed. So, this is not an arbitrary seam, but rather a way to solve her problem while still maintaining the conceptual ideas of sewn line. This work is populated by small little thread knots. Because this was just the installation phase of the show, I was able to see a bit of the process left unseen during the show. Like in the work titled Nature’s Morse, you see the dots run down the paper in an orderly straight line to form a circle, but hidden behind is a chaotic maze of strings.

Linnea Glatt and the Barry Whistler Gallery have had plenty of time to make adjustments to the show that opens September 14th this Saturday, so I am looking forward to seeing the changes and I am also excited to talk with Glatt about her final choices for the installation. for more images.

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