An exploration of the contrast between appliqué and bricolage in creation of Khayamiya, Pomegranate focuses on a common pattern within the form, repeating within 8 geometric sections.
The work also considers the contrast between weaving and sewing as creative activities: Pomegranate attempts to return the khayamiya to a point of origin, artificially reuniting artifact with raw materials.
Khayamiya exhibit geometric patterns that seem to be inspired by nature, not unlike art deco or art nouveau. Some of the motifs present in khayamiya are commonly associated with other parts of the world, such as the fleur de lis. Khayamiya begs interrogation as to the origins of such motifs. In seeking to reunite the form to the materials, I am attempting to construct a space of creative genesis: the moment of fabrication. However, a metaphysical reconstruction does not present real answers. It mimics the desires of the human to return to points of origin in culture and environment lost in migration. As we evolve as a global society, details of culture are reduced and lost. Pomegranate considers this reduction and elision of identity, which may be equally detested and romanticized as a future-form of ‘culture’.
Pomegranate was completed in 2017 for the Have Poets Left a Patch to Sew? exhibition at HR Gallop Gallery in Wagga Wagga, NSW. It has also exhibited at Newington Armory Gallery as a part of the Mining Pyrite exhibition (2017) and at MIAF in 2018.