Nora Fok’s blend of textile and jewelry art results in otherworldly pieces, implementing a variety of materials and processes for statements that resemble little else in wearable fashion. Despite their progressive, sometimes futuristic look, the pieces often implement age-old approaches: braiding, weaving, and knitting are used to string together hundreds of elements like nylon monofilament and beads.
Turkish-American designer Eda Yorulmazoğlu crafts wild costumes, with both distinct body of works and individual creatures as part of her repertoire. Part-fashion designer, part-textile artist, she navigates several spheres, all carrying an absurdism and vibrancy bolstered by bringing them out into the public.
The textile work of Sabine Feliciano may recall a past biology class for some, as her “dissections” of animals play with the vibrant and textural possibilities of the form. Her “Wild Textile World” takes us inside varying creatures of the natural world. And each takes the traditionally gruesome and adds something new, even lighthearted, to these explorations.
Nestled beneath the Standard, High Line in New York City’s Meatpacking District, Lucy Sparrow’s all-felt bodega is the first store of its kind. Thousands of products have been created for the space, which duplicates the classic New York bodega with each item a product of the artist’s handiwork. This rendition is called “8 ‘Till Late,” following similar projects from the artist, and takes its host city as one of its biggest inspirations.
Japan-born, Iowa City-based artist Sayuri Sasaki Hemann creates underwater worlds with fabrics and felt in installations. Projects like “Urban Aquarium,” which started in 2009 and appeared throughout Portland, recreate jellyfish and other sea inhabitants in places them in an airport and other unexpected places.
There may be no such thing as a magic carpet, but Argentine artist Alexandra Kehayoglou’s distinctive carpet designs will instantly transport you to another place. Her imaginative works have been described as romantic and fairytale-like woven playgrounds, imitating textures of nature like moss, sand, water, tree bark and grassy pastures, as in her “Pastureland” and “Garden” series. Kehayoglou sources her materials from the leftover scraps from her family’s carpet factory in Buenos Aires, shown here in this short video documentary about her work. One of Kehayoglou’s latest projects, titled “En los pies de Elpiniki” (At the foot of Elpiniki) is a giant, elaborately woven shoe that fantasizes about the beginnings of her family’s tradition of making carpets.