THE BAUHAUS
PILLOW COLLECTION
(A better synopsis of the Bauhaus art movement than I could attempt to explain. For a brief history lesson, checkout this short video.)
A retro inspired photoshoot, shot partially in film, in the heart of Wilmington, Delaware.
(Photos by Andrew Livingston)
BAUHAUS ON THE LOOM
A retro inspired photoshoot, shot at Wilmington, Delaware's own Goober's Diner.
(Photos by Mason Wynn)
THANK YOU TO THE BUSINESSES WHO MADE THIS PHOTOSHOOT POSSIBLE
A musically inspired photoshoot, shot at
Grooves & Tubes // Squeezebox Records.
(Photos by Mason Wynn)
BAUHAUS STREET ART
INSPIRATION
A photoshoot inspired by Bauhaus design principles and the notion of temporary, graffiti-like installations.
(Photos by Andrew Livingston)
DESIGNING CLOTH
Each pillow within the Bauhaus series was handwoven on floor looms within my Wilmington, Delaware studio. My process began by creating a color story around the use of primary shades. I narrowed this down further by choosing a 70’s inspired temperature palette, known for their rich, earthy undertones.
After finalizing color, I mapped out my weave structures by focusing on simple, yet bold geometrics to honor the Bauhaus aesthetic. I also adjusted yarn weights and threading sequences to allow the woven portion to vary in scale while playing with linework and repetition. Through secondary hand embroidery, I intentionally wove columns commonly seen in Bauhaus design as narrow piers, grouped in threes.
The key element behind Bauhaus design principles is that form follows function. I wanted the finished cloth to result in a heavier hand, something similar in weight to an upholstery grade fabric, allowing beauty to blend with everyday practicality.
Rather than recreating an expected take on Bauhaus design, I wanted my approach to read a little more subtly. With an interior design background, I created the collection around the notion that these pieces could all mix and match within the group, or pair with entirely different styles. To do this, I created a color system that incorporated the same white, cream, and tan yarns. These appear across the entire group and work as an anchor for marrying various weave structures and contrasting colors based on three reoccurring neutral threads.
ARTIST STATEMENT
In working through some personal setbacks this year, my nervous system was seeking a slow-paced activity that could be incorporated into daily routine. I turned to weaving. The Bauhaus series began simply as a project to channel stress. It required intentional slow down and methodical planning.
To challenge myself, I took things a step further by working with a strict primary color palette. I wanted to play with the notion that these pieces held subtle homage to Bauhaus design principles, while also remaining in line with my own flavor of weaving. As a final step, I expanded my approach into secondary hand embroidery techniques; a tribute to Bauhaus linework.
This art movement believes color to have grounding powers. A sort of connection between sound, color, and movement. It also believes shapes to have synesthetic attributes. This idea resonated with me as a metaphor and visual representation of the grief and mental strain I had been experiencing. And in true burnout fashion, the woven cloth resulted in various areas of skipped threads and treadling errors. Rather than working the flaws back into the cloth, I chose to emphasize them with contrasting hand embroidered cross hatches. A hint to unmasking. The Bauhaus series has reminded me that craft doesn’t always require creating without flaw. There’s also opportunity to approach mistakes with such intention; the flaws themselves become the design.
In wrapping up the project, I organized a photoshoot that blended the connection between sound, color, and movement, within my own body of work and surroundings. To express this visually, I hand-picked each location as a direct nudge to musical, architectural, and retro-inspired influences.
