Rebecca Medel

 
Two Double Stars (detail), knotted netted linen, woven fiber optic cable, embroidered silk floss, 26 x 25 x 7inTwo Double Stars (front), knotted netted linen, woven fiber optic cable, embroidered silk floss, 26 x 25 x 7inTwo Double Stars (side), knotted netted linen, woven fiber optic cable, embroidered silk floss, 26 x 25 x 7inDouble Stars (front), knotted netted linen, woven fiber optic cable, embroidered silk floss, 17 x 19 x 2in
Pleiades (detail), embroidered silk floss French knots and glass beads on digitally printed cotton, 19 x 19 inchesPleiades (detail), embroidered silk floss French knots and glass beads on digitally printed cotton, 19 x 19 inches

Rebecca Medel has a background in three-dimensional design and fiber art. Her B.F.A. degree in Environmental Design from Arizona State University informed her use of space-time as a central element in her work. Several years after receiving her undergraduate degree, Medel began fiber studies at Pacific Basin School of Textiles Arts, and Fiberworks, Center for the Textile Arts in Berkeley, California. It was at these schools that she learned two historical processes, ikat and knotted netting, that she was to use in creating her work for two and a half decades. The conceptual basis and development of her major professional works occurred during her graduate studies at the University of California, Los Angeles, where she earned an M.F.A. in Art, Sculptural Fibers.

During her graduate education Medel developed a personal off-loom technique using the processes she learned in Berkeley to knot large structural multi-planed square grid nets with ikat and braid resist threads. These resist processes separated color and created ambiguous or floating values of color. Medel singled out the use of linen and cotton thread because they are intrinsically structural and can be both bleached and dyed. During the many years that Medel used these processes her work comprised a series of ideas involving time & space, metaphysics, and symbolism. The elemental characteristic of the work was an exploration of light through the grid structure, without mass and weight, on the edge of being physically supportable, and creating transparent weightlessness. Structure was achieved through the use of lines that became planes, at times parallel and layered, at other times connecting and intersecting perpendiculars; against the wall or coming out in relief. These structures supported other concurrent ideas that spoke of voids, of tensions and distortions, of universal symbolism and the beauty of mathematics through an underlying geometry and the use of such mathematical principles as Sacred Geometry, the Golden Proportion, and the Fibonacci series.

In 2005 Medel changed directions ending her work using the materials and techniques she had used for two and a half decades. However, she continues many of the themes of her netted work. These include the exploration of luminous light, the universal symbols of the spiral and the maze, and a personal visual interpretation of the universe and the phenomena of the cosmos. Although the work itself is not physically multi-dimensional, it implies dimensions through content. Medel now uses digitally printed images of her themes on opaque cotton or translucent organza, adding surface applications of embroidery with silk floss and glass beads to highlight her ideas.

See Examples of Museum Collection Works: https://sites.google.com/site/rebeccamedel2010/works/1980s-1990s

STATEMENT:
From 1980-2005 I used the ancient technique of knotted netting with resist dyed linen or cotton threads. The ikat and braided resist processes separate color creating ambiguous or floating values, something that happens through the white space breaks. I used linen and cotton because they are intrinsically structural and can be both bleached and dyed. This knotted work comprised a series of ideas involving time & space metaphysics, and symbolism. The elemental characteristic of this work was structural, without mass and weight, on the edge of being physically supportable, a structure of transparent weightlessness. Structure was achieved through the use of lines that became planes, at times parallel and layered, at other times connecting and intersecting perpendiculars.
Since 2005 my work uses digital prints on cotton or organza, embroidered with silk floss and/or glass beads. The  work continues an earlier interest in spirals and mazes as well as  my visualization of the cosmos. Through the materials and processes I am interpreting celestial maps, starlight, and galaxies. Much of this work uses a box format because it contrasts the concept of c

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