Hdl Handle:
http://hdl.handle.net/10545/619864
Title:
Critical cloth
Authors:
Williams, Rhiannon
Abstract:
A solo exhibition. Each patchwork entails a highlighting (or mutilation) of language and text that becomes intensified through tessellation within a stitched honeycomb framework. This strategy is one of selection and magnification, framing words, phrases and excerpts in such a way that a critique is suggested to the viewer. The intensity of hand stitching over long periods of time exaggerates the semiotic impact of each ‘snippet’ of text. In some pieces, the systematic recording of language becomes historical in a documentary sense. Money Talks, for example, showcases journalistic language generated during the Credit Crunch and beyond: ‘capitalism in crisis’, ‘recession’, ‘slump’, ‘financial gloom’, and more recently, ‘consumer confidence’, ‘road to recovery’, ‘austerity’ and ‘more cuts to come’.
Affiliation:
University of Derby
Citation:
Williams, R. (2015)' Money Talks, The Time I’m Taking and Untitled' [Exhibit] Alison Richard Building, University of Cambridge. Cambridge. 15 October - 1 November
Issue Date:
Oct-2015
URI:
http://hdl.handle.net/10545/619864
Additional Links:
http://artlanguagelocation.org/rhiannon-williams/; https://arbpublicart.wordpress.com/rhiannon-williams/
Type:
Other
Language:
en
Appears in Collections:
School of Arts

Full metadata record

DC FieldValue Language
dc.contributor.authorWilliams, Rhiannonen
dc.date.accessioned2016-09-05T14:38:36Z-
dc.date.available2016-09-05T14:38:36Z-
dc.date.issued2015-10-
dc.identifier.citationWilliams, R. (2015)' Money Talks, The Time I’m Taking and Untitled' [Exhibit] Alison Richard Building, University of Cambridge. Cambridge. 15 October - 1 Novemberen
dc.identifier.urihttp://hdl.handle.net/10545/619864-
dc.description.abstractA solo exhibition. Each patchwork entails a highlighting (or mutilation) of language and text that becomes intensified through tessellation within a stitched honeycomb framework. This strategy is one of selection and magnification, framing words, phrases and excerpts in such a way that a critique is suggested to the viewer. The intensity of hand stitching over long periods of time exaggerates the semiotic impact of each ‘snippet’ of text. In some pieces, the systematic recording of language becomes historical in a documentary sense. Money Talks, for example, showcases journalistic language generated during the Credit Crunch and beyond: ‘capitalism in crisis’, ‘recession’, ‘slump’, ‘financial gloom’, and more recently, ‘consumer confidence’, ‘road to recovery’, ‘austerity’ and ‘more cuts to come’.en
dc.language.isoenen
dc.relation.urlhttp://artlanguagelocation.org/rhiannon-williams/en
dc.relation.urlhttps://arbpublicart.wordpress.com/rhiannon-williams/en
dc.subjectTexten
dc.subjectLanguageen
dc.subjectArten
dc.titleCritical clothen
dc.typeOtheren
dc.contributor.departmentUniversity of Derbyen
All Items in UDORA are protected by copyright, with all rights reserved, unless otherwise indicated.