statement
My deconstructed weaving series is my largest body of work to date. In this, I have thought specifically about metaphors that use 'threads' or 'cloth' and the importance of these metaphors on how mental connections and actions are made; these include: 'the fabric of life', 'the tie that binds', 'string of thought', 'conceptual fabric', 'fiber of being', and 'cut from the same cloth'. Inspired by these metaphors, I have developed a body of work with the question: What does it mean to construct, deconstruct, and reconstruct in the same order, only for the process to expose a hidden image? I use a combination of painting and weaving as my method and my inspiration is the potential that lies in the combination of marks on ordered lines. This artwork exists within a larger framework where I am interested in constructing the components of the artwork myself, including weaving the canvas and devising my own method of support and display.
In addition to linguistic metaphors, I'm intrigued by repetition and cycles of habit, which eventually give way to a moment of disturbance. The disturbance, here, occurs when an original image, painted on a plain-woven surface, is unwoven – physically unwound off the loom in precise reverse order – and then rewoven back together in that same original order. After reweaving, a new pattern reveals itself through a subtle shift in the weft threads once the reweaving process has begun. The form and composition of the original painting is lost while reconstructing the final image, which has an uncontrolled diffused appearance.
In this process I'm forced to surrender and let the threads shift and fall. The uncertainty of the process risks failure or success. Even with choices for materials and the composition of the original painting, I continue half-blindly until the image develops; it's a process of chance and circumstances. The vagueness of what will be revealed becomes a motivation based on curiosity and the artwork becomes a metaphor for life. The original painting is altered permanently by deconstructing it; a memory of the original remains as a stain on the vertical warp threads – which are un-shifted. The artwork looks deceptively minimal yet it's also mysterious and asks the viewer to understand it. This body of work is about the act of deciding to go down a path with conviction and purpose, while realizing that the final outcome is unclear and mysterious to all involved; artist and viewer.
Alison Moyna Greene currently lives and works in Kansas City, Missouri, where she is a self-employed artist, as well as Co-Owner, Framing Specialist and Conservation Technician of Sutton Greene LLC Art Conservation Services which provides services for the conservation and preservation of art, specializing in the conservation of paintings and frames.
bio
born: 1980, Montreal, Canada
education
Cranbrook Academy of Art, MFA, 2006
Kansas City Art Institute, BFA, 2003
selected awards/honors
Schacht Student Showcase, Best of Show Recipient, 2006
Handweavers Guild of America Student Scholarship, 2005
Robert Sailors Merit Scholarship, Cranbrook Academy of Art, 2004-2006
Susan and Dennis Marker Award of Excellence in Fiber, Kansas City Art Institute 2003
selected publications
Shuttle Spindle and Dyepot, Handweavers Guild of America Small Expressions exhibition; Fall 2007, issue 152 p.18-20
"Insight", Cranbrook Academy of Art, CAA Master's Statement Archives, May 12, 2006
FiberArts Magazine, News and Notes, Schact Student Showcase, Nov/Dec 2006
selected solo or two-person exhibits
Natural Born Colors: Nathan Elliott Sutton and Alison Moyna Greene, Wheeler Audio, Kansas City, Missouri, 2010
Chance and Circumstance, Indigo Gallery, Buffalo, New York, 2009
selected group shows
You Are Here, Armory Art Center, West Palm Beach, Florida, 2013
Ripe, Leedy-Voulkos Arts Center - The Opie Gallery, Kansas City, Missouri 2010-2013
Danza Macabre, Telephonebooth Gallery, Mattie Rhodes Gallery and Keyhole Galler, Kansas City, Missouri, 2009
Winter, Indigo Gallery, Buffalo, New York, 2008
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