An Interview with YVONNE BOBROWICZ: Fiber Artist of the Almost Ethereal

photograph by Judith Zausner

 

Trained in traditional textiles and weaving, Yvonne has found her path to an ethereal visual effect in fiber art.  By knotting enormous amounts of mono filament she creates a compelling experience of both light and texture.  

 

You came from two parents with creative genes. Life had to enable that for you.

My mother had talent in the design and textile area and made clothes for me and my 2 sisters. She also could have been an actress. My father was a master woodcarver and taught woodworking.

My first weaving was when I was 10 years old at camp; it was a bath mat.  

When I was in 7th grade I was asked what I wanted to do in life. That was unusual. I said that I wanted to be an Arts and Crafts teacher. I'm the teacher type; I taught at Drexel University from 1966 to 1997.


Was there a clear point when you knew that your direction would be in fiber?

Yes, it was at Cranbrook (Cranbrook Academy of Art), which was a very beautiful and inspiring place. It was there that I was exposed to all arts and crafts  and discovered "the thread". I was taught functional weaving and created suiting, upholstery, drapery and rugs.


And then how did you enter the world of fiber art after graduating from Cranbrook?

My father built a large loom for me which replicated the one at Cranbrook and that was special. And then I opened a studio designing and handweaving functional textiles for architecture and designer clients.


After you moved to Philadelphia with your husband, you had three children and continued working with your art while meeting some important people of the day

I moved to Philadelphia because my husband started teaching Architecture at the University of Pennsylvania (Penn). Penn was going through a metamorphosis and it was a very fertile and inspiring time. There was Buckminster Fuller, Lou Kahn, Ann Ting. LeRicole, and Louis Munford.

In the 50s I had studied with Anni Albers at the Philadelphia Museum School of Industrial Art (now the University of the Arts) and also wove. In the late 60's I started creating wall hangings,tapestries, room dividers, rugs with high and irregular pile that evolved in to floor sculpture. In the 70s I did work for corporations as well as a tapestry for Lou Kahn's Fort Worth Museum.

In the 60s there was a new craft movement which reflected what was happening in society. It was the women's movement, civil rights, space exploration and developing individuality. Lenore Tawney and Sheila Hicks are good examples of this new movement in fiber art. Jack Lenor Larsen did a show in 1969 at the Museum of Modern Art. That was incredible to have a fiber art show in a celebrated art museum that also included well known international fiber artists. It was an exciting time!

Processes go through change and I just go with it also. I had the good fortunate of being provoked creatively.

Going forward, you gracefully transitioned from more traditional weaving to woven structures and your current work looks almost ethereal with the clear industrial monofilament fibers.

When I was about about 50, it was a rebirth time for me.I rented a loft and heard that DuPont was giving materials to artists  I went from weaving with heavy natural materials to light. I started knotting masses of clear mono filament that picked up light beautifully. In new ways of exploration, Flavin, Irwin and Terrill were working with light on the west coast.
I also started reading Jung and the Dao of Physics and many books by well known psychologists, philosophers, etc.


You had an exceptional upbringing and an extraordinary life. You won the Pew Fellowship and your work has been collected by museums such as the Chicago Art Institute, the Philadelphia Museum of Art, and the Racine Museum of Art.
Now at 85, how do you look forward?

I showed abroad frequently and I am still creating. Even though my body does not cooperate every day with what I want to do, I'm still working on these fiber pieces and continue to receive show invitations from overseas.

THE WORLD OF EXTREME FIBER ART

This is not about knitting classic afghans. It’s about taking the element of yarn to build an art form that is unexpected and unconventional. It’s about having a vision that transcends ordinary imagination to construct an entity that can be sublime, artful and perhaps even curious.

At 76, Sheila Hicks is considered the grand doyenne of fiber art. Born in Nebraska, studied with Josef Albers at Yale, Sheila has traveled for her work in Mexico, Chile, South Africa, Morocco, India, and also Paris where she has lived since the 1960s while sharing her studio time in New York. With numerous awards and in celebrated collections of museums internationally, she has honed a career that has led to huge commissioned fiber art sought by companies such as the Target Corporation for their Minneapolis headquarters and Ford Foundation for their New York headquarters. At a recent exhibition of her work, Sheila Hicks: 50 Years, at the Institute of Contemporary Art in Philadelphia, the viewer can relish the intimate delicacy of her small fiber art as well as the enormity of pieces than can span upwards of 20 feet high. Her textile sensitivity embraces incredible colors, a range of fibers, extraordinary textures, meticulous craftsmanship, unexpected materials and bold drama. “My work is based on emotional responses to visual impressions or to the need to express an idea – to give it form. Color, texture, concept, scale, and structure are inextricably linked” says Sheila Hicks. Probably best known for her coil wrapping technique with fibers, there is also diversity in her work as evidenced by La Clef, 1988, a lyrical grouping of rubber bands that playfully loop together with a metal key. She has merged the world of craft with fine art. Always improvising, she once turned over her dining room table and used its legs to create a loom and has used broom sticks to knit with. Yet Sheila’s dynamic and somewhat mysterious personality aligns itself well with her innate ability to interact with an audience, interpret possibilities and yet retain some privacy about her business of producing art.

When fiber artists take the privacy of a women’s bra to public art space, there’s plenty of humor and metaphors. Laura Jacobs transforms this feminine garment using everything from crab claws and fish heads to antique glass and mother of pearl and the results are artful fantasy. In fact, the creative conversion of bras into an art form has inspired numerous competitions and exhibits to successfully fundraise for breast cancer research. Many of these events are scheduled annually because they draw a big crowd, enjoy lots of press, stir plenty of smiles and positively contribute to a worthwhile cause. And when your old bra is worn out, maybe it’s time to give it a second life as a handbag. Many crafters are having fun with this approach and step by step instructions are available on the web.

A new approach for extreme fiber artists is knitted graffiti. Also called yarn bombing, it has transformed public spaces with color and texture and warmth. Think that lamppost doesn’t need a sweater or tree trunks aren’t yearning for a new soft cover? Well some guerilla knitters and crocheters have decided this for you. The movement started with a group of Texan artists led by Magda Sayeg who formed Knitta in 2005 to bring rich, colorful fiber experiences to the urban landscape. Having installed work around the United States, Magda also ignited her creative fiber sparks in London, Sydney, Rome, Milan, Prague, Montreal, Mexico City and even atop the Great Wall of China. In honor of the 60th anniversary of Bergère de France, the first manufacturer of French yarn, Knitta was invited to Paris to "revitalize urban landscapes with knitted pieces". Now organized with a recent International Yarnbombing day (June 11, 2011), it’s a formal movement that has a global presence.

There’s no right or wrong in fiber art today; it’s all welcome expressions of new approaches to craft and to art. So maybe it’s time to put your patterns back in a drawer and build your fiber fantasies. Remember that there are no mistakes only many solutions and endless possibilities.

Think left and think right and think low and think high. Oh, the thinks you can think up if only you try! ~Dr. Seuss, Oh, the Thinks You Can Think!