Months Ago I went on a trip to Smiths Row in preparation for my Dissertation. One of the artists that I was researching was Michael Brennand-Wood because of his use of textiles, a craft material and his use of embroidery and pattern to create gallery dominating conceptual pieces of art.
What I enjoy about Brennand-Woods work is that, as Jennifer Harris stated, his work is not easily classified into art and craft but continues to push the boundaries between craft and art.
His eclectic use of colour dominates all his work, Bright cobalt blues, rich reds, a plethora of colours contrasting to create works which you cannot ignore.
His work at Smiths Row was a small but interesting exhibition. He used all the space available to him by using the walls for the larger pieces which are also 3-Dimensional and podiums for the sculptures in the center of the room. The exhibition is clearly meant to be viewed in a certain order whilst being surrounded by it. He has fused Western military references, a common theme in many of his works, with traditional Eastern Islamic patterns of Central and South East Asia.
I admire Brennand-Woods work from the past also, such as works ‘Stars Underfood’ (2002) and ‘Died pretty- Flag of convenience’ (2005) both of which have very deep hidden meanings which are a marker or Brennand-Wood’s work.
According to Brennand-Wood’s website, he ‘has persistently worked within contested areas of textile practice, embroidery, pattern, lace and recently floral imagery’. These areas are contested because of their association within the practice of craft. His pieces and collections always have individual historical sources, which can be identified through the titles of his work. Because of this changing concept his work can be contested between an art and a craft, and how he identifies as, an artist or craftsman. His concept is subjective to what is displayed on the art work.
I really enjoy how his work is a hybrid between craft and art, drawing from materials and ideas from both mediums and creating his own little niche that makes him stand out, although using craft inline with concept is becoming increasingly popular.
Jennifer Harris states in Michael Brennand-Wood: Field of Centres that his work is not easily classified into art and craft but continues to push the boundaries between craft and art. She continues that his use of historic textiles, such as embroidery and lace, are usually classified easily into the craft category by his use of materials or the method and process used to create it, but Harris states that his work is different from this.
When referencing pieces such as Stars Underfoot (2002), Harris (2004) states “This new body of work may be as difficult as ever to classify but is evidence that he continues to mine a rich seam at the interface of painting and textiles and conceptualising and crafting.” (Harris 2004)
Harris, J. et al. (2004), “Michael Brennand-Wood: Field of Centres“, Denbighshire County Council, Ruthin Craft Centre.
He does this by not making his whole piece about the materials, although they are important to each piece. By using a concept in his works it creates more depth. The textiles materials and techniques he uses enhance the meaning.
Brennand-Wood takes inspiration from a multitude of different areas, historical, war, different cultures and from these concepts he creates work around them to suit what his vision is, not the other way around like most other artists.
his art work does not revolve around a singular concept because it is more important to use his materials and find a concept to interact with them than it is to change his materials based on the concept. Brennand-Wood finds a concept to go with his works and making it fit that way, rather than finding a concept and then creating work around that.
Jessica Hemmings states that ‘He offers us embroidery that refuses to operate in familiar ways. His work is too knowing of art history to fit comfortably into the sloppy craft movement; too serious in its engagement with international events (in particular the senselessness of war) to be treated as purely decorative.’ (Jessica Hemmings, 2013, p.88)
Hemmings, J. (2012). Forever changes. Ruthin: Ruthin Craft Centre.
Jessica Hemmings statement explains that Brennand-Wood’s work is too aware of art history and too influenced by events to be treated as purely decorative. The way he uses his concept in each work disassociates them with the craft movement, of which she is especially derogative, despite the use of his materials. Hemmings even argues that the way he uses his materials is different to what you would expect with a textile artist.
