CCW Professor, Carol Tulloch, recently showed her work at Brighton Art Fair, 26th -28th September 2014. Tulloch’s academic biography is as a writer and curator with a specialism in dress and black identities.
Describing her practice, Tulloch said, ‘In the development of my textile narrative I am drawn to the idea of rough simplicity. These works incorporate the dynamics of broad ink strokes and the unpredictability of torn paper. They are assembled like fragments of cloth secured by gestures of stitch. A graphic line anchors the composition. Here line is force.
The element of quiet and intensity connects with my interest in the street, the tension of divergent spaces—country, city, inland, coast—that are an integral part of my lived experience. The street is the exterior fabric of a place, necessary, pervasive, where society leaves its mark.
Within this maelstrom of the street lurks the X, which I am drawn to like so many before me. The X is present in the architecture of the street, it marks locations and represents the anonymity of the street. For me the X is reassurance and agency. It allows one to be.’ During the fair Tulloch was offered a gallery space to make a more installation-type piece to push the work, developing it in three dimensions. She hopes to create a publication about the process.
Colleague, Professor Jane Collins attended the Private View of the fair:
‘Thursday 25th September, 7pm
I am looking at Carol’s work at Brighton Art Fair. It is the Private View, packed and stiflingly hot! In the midst of the hullaballoo I lean in. They make you lean in, these works, up close you get the detail. Tiny stitches, ruched delicate torn black, black white and white black paper, a line of red, a gash. Curious compositions under glass, I am no artist-maker and these materials are strange to me. I am intrigued. Why did my friend place this on that on there? The logic of following a thread. Where do they lead me? These are torn pages of a book I once read. This one is a bird trying to raise itself up out of the frame – not quite done yet; this, a mountain; this a needle puncturing time – she did try to teach me to knit once. Pins and needles, bodies and flesh. Is that a family, man, woman and child etched out in simple lines of paper and nabbed with stitch? In this familiar unfamiliarity “Up Close and Personal”, I search for clues. My favourite, the cross, the X marks the spot, the meeting place, the loss, the possibility of …
Dear Carol, I want to match in words the eloquent gestures that you have wrought with these materials but as ever words fail me. So, back to the hullaballoo, a drink and a smile.’