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Australian based visual artist '''Michelle Hamer''' uses hand-stitched [[tapestry|tapestries]] on perforated plastic canvas as a way to explore the small in-between moments of apparent ‘nothingness’ that permeate everyday life. 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 as represented through freeway signage and billboards.
Australian based visual artist '''Michelle Hamer''' uses hand-stitched [[tapestry|tapestries]] on perforated plastic canvas as a way to explore the small in-between moments of apparent ‘nothingness’ that permeate everyday life.
==Style==
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 as 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.
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.

Revision as of 03:37, 20 March 2012


Australian based visual artist Michelle Hamer uses hand-stitched tapestries on perforated plastic canvas as a way to explore the small in-between moments of apparent ‘nothingness’ that permeate everyday life.

Style

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 as 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.

http://www.theprogram.net.au/featuresSub.asp?id=4668&state=1

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