Therese Zemlin
Mandala 5: Sky and Sunflowers, 2022
Inkjet prints on Japanese paper, found text, weaving 12 x 12"
The weaving draft/pattern is by computer scientist Ralph Griswold, 2005, #41459, from Handweaving.net. The cut up book pages are from Silent Spring by Rachel Carson. The photo of sunflowers and sky were in Brimson, MN. The patterns in textiles mimic the patterns in nature. Patterns of human behavior are described by Rachel Carson in her timeless writings. These associations are woven together in the Mandala series: They are not be obvious in the woven work, but hopefully begin to seep in around the edges of the viewer’s awareness.
Therese Zemlin
Mandala 3: Lichen on Spruce Branches, 2022
Inkjet prints on Japanese paper, found text, weaving 12 x 12"
The weaving draft/pattern is by computer scientist Ralph Griswold, 2005, #41506, from Handweaving.net. The cut up book pages are from Silent Spring by Rachel Carson, and Next Time by Henry James. The photo depicts spruce trees killed by a spruce budworm infestation in Brimson, MN. The patterns in textiles mimic the patterns in nature. The patterns of human behavior as reflected in the fiction of Henry James are reiterated by Rachel Carson in her descriptions of human endeavors and motivations gone horribly wrong. These associations are not obvious in the work, but hopefully begin to seep in around the edges of the viewer’s awareness.
Therese Zemlin
Mandala 2: Cloquet Riverbank, 2022
Inkjet prints on Japanese paper, found text, weaving 12 x 12"
The weaving draft/pattern is by computer scientist Ralph Griswold, 2005, #41506, from Handweaving.net. The cut up book pages are from Silent Spring by Rachel Carson, and Next Time by Henry James. The photo was taken on the Cloquet River in Brimson, MN. The patterns in textiles mimic the patterns in nature. The patterns of human behavior as reflected in the fiction of Henry James are reiterated by Rachel Carson in her descriptions of human endeavors and motivations gone horribly wrong. These associations are not obvious in the work, but hopefully begin to seep in around the edges of the viewer’s awareness.
