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Woven Hanging Sculpture, Binding What's Lost, in Bookmatched Ash and Silk

About the Item

American Ash is currently experiencing a catastrophic blight caused by the emerald ash borer, a non-native beetle thought to have been brought to America in shipping materials from overseas while in a dormant state. This hanging piece is a bookmatched of two 1/16” slices of Ash, unique in color, figure and shape. The 26 Ash strips are woven together using organic remnant silk as the weft threads in a three over one herringbone pattern, the same pattern used in the famous burial shroud, the Shroud of Turin. The frame is handmade by the artist in black painted Ash. Drawing from both historical weaving patterns and their applications as well as from series of tree related biological blights and human driven near-extinction events, this series of sculptures, one of which is available for purchase here, asks about our ability to recognize and heal the harms we cause. Can we bind the things we are actively tearing apart and recognize our fragile reliance on the very thing we are damaging before it is too late? Each piece of wood used in this collection came from an ecologically and environmentally sound source. Blending textile and tree in woven panels of wood, each from a dead or dying species, they have been bound back together with silk utilizing the three- hop pattern found in the Shroud of Turin, questioning whether these will be the stitches to heal our damages or the burial shroud they will be wrapped it. There are three sculptures which have been created in this series to date. In addition to Ash, Moran has woven one in Chestnut and one in Redwood Root. Please contact us for more information. Weaving, inverting, book-matching, layering and framing become an act of contemplation in Michael James Moran’s art. Moran’s distinct bodies of sculpture are tied together through the essential act of questioning our human relationships with the natural world: the damage we’ve done, the history we forget, the beauty we overlook. Through the manipulation and framing of wood, he addresses these losses, and in binding them together readjusts our eyes to perceive the multi-faceted nature of this material: the trees which grow, which once grew. When seen as a whole, Moran’s body of work gathers individual compositions in conversation, each recontextualizing a material, a thought, with a single overarching concern. Every part of Moran's sculptures are created by him in his workshop in New York's Hudson Valley.
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