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Gin StoneFrom the Extinction(s) Series: 'The Dodo '2024
2024
$6,500
£4,991.38
€5,725.89
CA$9,133.26
A$10,228.68
CHF 5,337.16
MX$124,938.90
NOK 67,904.16
SEK 64,007.81
DKK 42,731.64
About the Item
The project will depict organisms in fiber and textile, in a format I consider a hybrid of the late 1970’s fad of Cut and Sew homemade stuffed-animals/pillows (from pre-printed fabric), relief sculpture and topographical maps. I’m calling this method Cut Relief.
Layers of recycled fabric are built up into form with the final top layers created with dyed cotton canvas or reclaimed materials. The relief aspect of the layered fabric relies on contour lines delineating sections either built up or cut away into the textiles, like a topographic map. The quantitative representation of elevation normally attributed to three-dimensional geography, or in the case of a biological organism, will not always represent this information accurately as found in nature. As sections will be built up some in some locations and recede back in others, height and depth will be played with arbitrarily.
My working name will be amended to “Auntie Gin”, pronounced antigen, which reflects not only the auto-immune diseases I am dealing with in life, but also the artists role of socio-political agitator with a heavy reliance on scientific, historic and environmental research.
These will be photographed for future installation with hand drawn charcoal on kraft paper background, held the wall with pins and magnets.
Extinction(s) is the first planned project created using this technique and will explore some extinct flora and fauna from a variety of past extinction events in prehistory, including those caused and by man.
About THE DODO
My dodo is a composite conception based upon art based upon art, accompanied by my contemporary research.
I referred to the few drawings catalogued from the Dutch East India Company sailors. A Dutch fleet had taken possession of the island of Mauritius in 1598 in an attempt at harvesting local ebony wood while planting sugar cane for crop production that had been brought from Java.
The earliest drawing of a dodo comes from their time there in about 1601. By the time their ships had abandoned the island in 1710, the dodo was extinct (it was last documented alive in 1688). As well as the birds having to reckon with deforestation and with on-board vermin that exited the ships while at anchor, they were simply seen as fresh meat. And although they found the dodo tough and unpalatable, the dodo was eaten into oblivion by the Dutch.
17th century Indian master painter and naturalist Ustad Mansur, who specialized in plants and animals, was the earliest artist to depict the dodo in color in 1628. Research also points to all depictions of dodos based on taxidermy recreations are shown as extremely plump and overfed in captivity, including Mansur’s as it was likely observed in a Moghul royal court’s menagerie.
Cornelius Saftlevin’s sketch of a dodo head is the last known drawing of the bird from life in 1638. The work of Dutch illustrator FW Frohawk informed the feet.
- Creator:Gin Stone (1971, American)
- Creation Year:2024
- Dimensions:Height: 60 in (152.4 cm)Width: 50 in (127 cm)
- Medium:
- Movement & Style:
- Period:
- Framing:Framing Options Available
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU422315511602
Gin Stone
From 1989 until 2010, Gin Stone worked solely as a painter- this background gave her a strong knowledge of color and form. Over a decade ago, she began experimenting with textile, particularly reclaimed fishing gear and line. From trial and error with different types of gear, she found that longline, used to commercially fish haddock and cod local to her studio, could be hand-dyed and manipulated into a strong color pallet with a uniform gauge. She create three dimensional work by cutting and re-piecing material to make the animal’s ‘pelt’s. Other details are hand carved from shell, stone, wood and metal. In 2018, she was invited by the Provincetown Art Association and Museum to conduct a course at the Lillian Orlowsky and William Freed Museum School on exploring new processes and creating a cohesive body work. Stone is a PAAM member with her work in their permanent collection alongside such notables as Robert Motherwell, Hans Hoffman and Edward Hopper. Stone has delivered talks at the Chandler Gallery, Cambridge, MA; the Fountain Street Gallery, Boston; and the Cambridge Art Association, Cambridge. In collaboration with Fountain Street, Chandler and Kathryn Schultz galleries, she has curated several shows in the Boston and Cambridge area. Her work has been included in exhibitions by such notable curators as Randi Hopkins, Director of Visual Arts Boston Center for the Arts; Paul Ha, Director of the MIT List Visual Arts Center; and Sam Tager, Independent Curator and Exhibition Designer. Gin has been awarded grants from the Rauschenberg Foundation, the Arts Foundation of Cape Cod and the Berkshire Taconic Community Foundation. Born in New York in 1971, Stone currently lives and works in eastern coastal Massachusetts.
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