Michelle Hamer (artist): Difference between revisions
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{{Short description|Australian artist}} |
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{{Use Australian English|date=June 2020}} |
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{{Use dmy dates|date=July 2019}} |
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'''Michelle Hamer''' (born 1975 |
'''Michelle Hamer''' (born 1975)<ref>{{cite web|url=https://www.ngv.vic.gov.au/explore/collection/artist/25720/|title=Michelle Hamer|publisher=National Gallery of Victoria|access-date=20 November 2023}}</ref> is a contemporary visual artist based in [[Melbourne, Australia]].<ref>{{cite news |title = Exhibitions: Michelle Hamer |publisher=Lake MacQuarrie City Art Gallery |url=http://artgallery.lakemac.com.au/exhibitions/on-tour/michelle-hamer |access-date=2013-12-23}}</ref> Her work comments on the digital and physical world we inhabit. Her work is based on her own photographs of language within the environment. The slogans at the heart of Hamer’s work question how the language of our everyday life reflects bigger questions and issues we face both personally and as a society as a whole.<ref>Feireiss, Lukas 'Imagine Architecture: Artistic Visions of the Urban Realm’, Gestalen, Germany, 2014</ref> |
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Hamer is primarily known for the way she uses hand-stitching, language and photography (her own and found) <ref>Craftivism Catalogue 2018</ref> to bring attention to social issues in a clever and satirical way.<ref>Edited by Aitken, A., Crombie, Dr I., Patty, M., Quirk, Dr M., and Russell-Cook, M (2020). She Persists. National Gallery of Victoria. Retrieved 02 April 2020</ref> Her [[tapestry|tapestries]] on perforated [[plastic]] grids<ref name="Broadsheet 2011">{{cite news|first=Neha|last=Kale |title = Dangling Carrots by Michelle Hamer |work=Broadsheet |place=Melbourne |date=27 April 2011 |url=http://www.broadsheet.com.au/melbourne/arts-and-entertainment/article/dangling-carrots-michelle-hamer |access-date=2013-12-23}}</ref> She ‘combines texts, yarn and the digital world’.<ref>Petry, M ‘The Word is Art’ Thames & Hudson, Social Commentary p204</ref> Concerned with “how universal our belief systems… have become”, she sources language found within the urban environment. |
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==Style== |
==Style== |
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Informed by her background in [[architecture]], the work focuses on signage within urban landscapes. In particular, addressing ideas of intertopia, margins of error, [[Interstitial art|interstitial]] and impermanent spaces represented through freeway signage and [[billboard]]s. |
Informed by her background in [[architecture]], the work focuses on signage within urban landscapes. In particular, addressing ideas of intertopia, margins of error, [[Interstitial art|interstitial]] and impermanent spaces represented through freeway signage and [[billboard]]s. |
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Through tapestry she explores everyday limitations - capturing small intense sped-up moments. Using this traditional technique, Hamer explores an ironic romanticism present between tapestry and the digitalisation of imagery in |
Through tapestry she explores everyday limitations - capturing small intense sped-up moments. Using this traditional technique, Hamer explores an ironic romanticism present between tapestry and the digitalisation of imagery in contemporary society. |
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Hamer was awarded funding by the Australia Council in 2011 to undertake study in the USA.<ref>{{cite news |title |
Hamer was awarded funding by the Australia Council in 2011 to undertake study in the USA.<ref>{{cite news |title=Artnotes: Michelle Hamer |work=Art Monthly Australia |date=May 2011 |url=http://www.artmonthly.org.au/artnotes.asp?aID=6&issueNumber=239 |access-date=2013-12-23 |url-status=dead |archive-url=https://web.archive.org/web/20131224083824/http://www.artmonthly.org.au/artnotes.asp?aID=6&issueNumber=239 |archive-date=2013-12-24 }}</ref> |
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==Work== |
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===Stitched=== |
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Hamer's earliest works used wool and perforated plastic grids. The plastic grids are off the shelf products manufactured for the home craft, DIY market.<ref>{{cite journal|last1=Frichot|first1=Helene|title=Dr.|journal=Vermont Journal|volume=1 |issue=2|pages=17–25|url=http://michellehamer.com/download/2011_Helene%20Frichot_Exhaustion_%20place05%20401%20time01%2012%20-Tradition%20and%20Innovation%20-Vermont%20Journal%20text%20pp17.pdf|access-date=31 March 2017}}</ref> Different colored wool is sourced, appropriate to each work. In 2014 Hamer was part of the Artists in Residence program at the Australian Tapestry Workshop<ref>{{cite news|title=Artists in Residence: 2014 Artists in Residence|url=https://www.austapestry.com.au/whats-on/artists-in-residence|access-date=17 September 2017}}</ref> where she was able to make yarns uniquely for her stitched works. |
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Hamer has also worked in larger stitched formats; using barrier tape to stitch through polypropylene debris mesh.<ref>{{cite news|title=Exhibitions: Michelle Hamer|url=https://nicholasprojects.org/exhibitions-2/michelle-hamer/|access-date=17 September 2017}}</ref> |
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===Ink on paper=== |
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Hamer has continued to develop her technique(s) using perforated plastic grids. In the medium of ink on paper, Hamer uses the plastic grid as a stencil template through which to make marks on the paper. The process of slowly rendering an image is common to both the stitched and ink works. |
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===Installation=== |
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There are no words was first seen at the NGV, as part of Melbourne Now in early 2014. Alongside the exhibition, Hamer ran two programs which allowed the public to stitch with her, contributing to the making of a large series of pieces. There are no words includes over 200 stitched black and white pieces. Individual pieces have black text stitched on a background of white stitches. |
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The first installation of There are no words was at Ararat Regional Art Gallery in 2015, where a site specific workshop was run prior to the installation. The unique footage from the workshop became one half of the installation. |
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==Awards== |
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* 2015: Joint award winner of the Inaugural Tapestry Design Prize for Architects with [[Kristin Green]] for their work ''Long Term Parking'', along with [[John Wardle Architects]] for ''Perspectives on a Flat Surface''.<ref>{{Cite web|url=http://www.architectureanddesign.com.au/news/john-wardle-architects-kristin-green-and-michelle|title=John Wardle Architects, Kristin Green and Michelle Hamer take top honours at inaugural Tapestry Design Prize for Architects|date=1 July 2015|accessdate=21 November 2023}}</ref> |
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==References== |
==References== |
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==External links== |
==External links== |
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* {{official website|http://www.michellehamer.com/}} |
* {{official website|http://www.michellehamer.com/}} |
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{{authority control}} |
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{{DEFAULTSORT:Hamer, Michelle}} |
{{DEFAULTSORT:Hamer, Michelle}} |
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[[Category:Living people]] |
[[Category:Living people]] |
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[[Category: |
[[Category:Artists from Melbourne]] |
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[[Category: |
[[Category:Australian textile artists]] |
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[[Category:Australian women artists]] |
[[Category:21st-century Australian women artists]] |
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[[Category:1975 births]] |
[[Category:1975 births]] |
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[[Category:21st-century women textile artists]] |
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[[Category:21st-century textile artists]] |
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[[Category:21st-century Australian artists]] |
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{{Australia-artist-stub}} |
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Latest revision as of 05:47, 8 January 2024
Michelle Hamer (born 1975)[1] is a contemporary visual artist based in Melbourne, Australia.[2] Her work comments on the digital and physical world we inhabit. Her work is based on her own photographs of language within the environment. The slogans at the heart of Hamer’s work question how the language of our everyday life reflects bigger questions and issues we face both personally and as a society as a whole.[3]
Hamer is primarily known for the way she uses hand-stitching, language and photography (her own and found) [4] to bring attention to social issues in a clever and satirical way.[5] Her tapestries on perforated plastic grids[6] She ‘combines texts, yarn and the digital world’.[7] Concerned with “how universal our belief systems… have become”, she sources language found within the urban environment.
Style
[edit]Informed by her background in architecture, the work focuses on signage within urban landscapes. In particular, addressing ideas of intertopia, margins of error, interstitial and impermanent spaces represented through freeway signage and billboards.
Through tapestry she explores everyday limitations - capturing small intense sped-up moments. Using this traditional technique, Hamer explores an ironic romanticism present between tapestry and the digitalisation of imagery in contemporary society.
Hamer was awarded funding by the Australia Council in 2011 to undertake study in the USA.[8]
Work
[edit]Stitched
[edit]Hamer's earliest works used wool and perforated plastic grids. The plastic grids are off the shelf products manufactured for the home craft, DIY market.[9] Different colored wool is sourced, appropriate to each work. In 2014 Hamer was part of the Artists in Residence program at the Australian Tapestry Workshop[10] where she was able to make yarns uniquely for her stitched works.
Hamer has also worked in larger stitched formats; using barrier tape to stitch through polypropylene debris mesh.[11]
Ink on paper
[edit]Hamer has continued to develop her technique(s) using perforated plastic grids. In the medium of ink on paper, Hamer uses the plastic grid as a stencil template through which to make marks on the paper. The process of slowly rendering an image is common to both the stitched and ink works.
Installation
[edit]There are no words was first seen at the NGV, as part of Melbourne Now in early 2014. Alongside the exhibition, Hamer ran two programs which allowed the public to stitch with her, contributing to the making of a large series of pieces. There are no words includes over 200 stitched black and white pieces. Individual pieces have black text stitched on a background of white stitches. The first installation of There are no words was at Ararat Regional Art Gallery in 2015, where a site specific workshop was run prior to the installation. The unique footage from the workshop became one half of the installation.
Awards
[edit]- 2015: Joint award winner of the Inaugural Tapestry Design Prize for Architects with Kristin Green for their work Long Term Parking, along with John Wardle Architects for Perspectives on a Flat Surface.[12]
References
[edit]- ^ "Michelle Hamer". National Gallery of Victoria. Retrieved 20 November 2023.
- ^ "Exhibitions: Michelle Hamer". Lake MacQuarrie City Art Gallery. Retrieved 23 December 2013.
- ^ Feireiss, Lukas 'Imagine Architecture: Artistic Visions of the Urban Realm’, Gestalen, Germany, 2014
- ^ Craftivism Catalogue 2018
- ^ Edited by Aitken, A., Crombie, Dr I., Patty, M., Quirk, Dr M., and Russell-Cook, M (2020). She Persists. National Gallery of Victoria. Retrieved 02 April 2020
- ^ Kale, Neha (27 April 2011). "Dangling Carrots by Michelle Hamer". Broadsheet. Melbourne. Retrieved 23 December 2013.
- ^ Petry, M ‘The Word is Art’ Thames & Hudson, Social Commentary p204
- ^ "Artnotes: Michelle Hamer". Art Monthly Australia. May 2011. Archived from the original on 24 December 2013. Retrieved 23 December 2013.
- ^ Frichot, Helene. "Dr" (PDF). Vermont Journal. 1 (2): 17–25. Retrieved 31 March 2017.
- ^ "Artists in Residence: 2014 Artists in Residence". Retrieved 17 September 2017.
- ^ "Exhibitions: Michelle Hamer". Retrieved 17 September 2017.
- ^ "John Wardle Architects, Kristin Green and Michelle Hamer take top honours at inaugural Tapestry Design Prize for Architects". 1 July 2015. Retrieved 21 November 2023.
External links
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