LIMINAL MATERIALS

In the realm of liminal materiality, the artist becomes an explorer, constantly pushing the thresholds of what is possible. It is within this creative space that the true magic of paint and materiality unfolds. These artists, Tracy Hay, Charrette van Eekelen and Jillian Wordsworth, continue to push these boundaries. They invite us to question our own preconceptions, to engage with the liminal spaces that exist within and beyond our physical world. This brings forward past memories turning them into new versions and depictions in the present day. In doing so, we discover new dimensions of artistry and the transformative power of pushing thresholds.

The act of pushing thresholds requires a willingness to embrace the unknown, to venture beyond the familiar territories of artistic practice. These three artists explore the possibilities of incorporating non-traditional materials into their paintings, such as fabric, thread, or even organic matter. By doing so, they disrupt the established hierarchy of materials and challenge the viewer’s perception of what constitutes a painting and how we hold our memories, inviting a new experience and way of seeing.

Tracy Hay
I am interested in the transformative characteristic of paint from a liquid to a pliable form, one which can be used to create interesting patterns.

Dried paint, made through an industrial and chemical process have at once been used and reused in this ongoing study. Made for other works which have since been disassembled, these paint strips have been reclaimed and regenerated to create colourful new works.

This concept of repurposing and frugality have been extended to the simple running stitches, or Japanese ‘Boro’, through the paint. The word ‘Boro’ comes from the simple straight stitching used in Sashiko. The reworking of both the paint and the stitch is made with a single strand of embroidery thread while the paint reflects the geometric forms and patterns seen within Sashsiko.

Through colour play and structured patterning, there is a relationship between these re-imagined works, one of chance and structure, fluid and solid, shape and form.