Crossing the line

Last night I finished the second 9" by 12" piece in my Kandisky series of 6 (Hooking Point and Line to Plane).  The second piece is called Crossing the Line and it is hooked using Red Jack Palette Wools: Bittersweet Red 162; Riv 'n Dale 165; and Nymph Green 155.  The background is hooked using my pebbling technique.

My inspiration was Kandinsky's chapter "Line" which understands the line to be the product of a point moving through space.  It is the product of movement, a point that has leapt out of its static state into a dynamic moment.  The type of line that is produced will depend on forces acting on the point. 

The straight line, then, is the movement of the point on its course to infinity.  It represents endless movement in a direction, whether it be horizonal, vertical, or diagonal.  Horizonal movement represents flatness and coldness.  Vertical represents height and warmness.  The diagonal represents a combination of these, being both cold and warm in its temperature.

The movement of the lines I have hooked in Crossing the Line represent a collection of free straight lines in an acentric composition (that is: there is no common center where the lines all meet).  As such it carries within it advancing and retreating lines so that the collection is tense.  The lines have a loose affiliation with the plane behind it, piercing the plane rather than fusing with it.  According to Kandisky, "These lines are farthest removed from the point, which claws itself into the plane, since they especially have abandoned the element of rest" (Point and Line to Plane, p. 62).

Seeing Red Mat Challenge

ATHA has put out a Seeing Red challenge - to hook a mat 9" by 12".   I have completed my challenge mat, although I need to bind it off and send it to Lisanne yet. 

My inspiration came from a book on abstract art that I have been reading.  It was originally published in 1926 by a famous abstract artist Wassily Kandinsky.  It is a book explaining his theory of art.  The title: Point and Line to Plane

He makes the argument that the geometric point (the dot) is the beginning of art, signifying the union of silence and speech.  Think about the period at the end of the sentence, how it signals the pause in speech.  He says, "The sound of silence customarily connected with the point is so emphatic that it overshadows its other characteristics" (p. 25).  This is its practical meaning. 

But what happens when we detach the period from the sentence and place it on its own in a canvas?  What happens to the meaning when the point is immersed in a larger space and the sound of the print is reduced?  What happens when the basic plane experiences a collision with the point?  The point becomes an independent being, the subject of the artist. 

I created this hooked piece to test Kandinsky's theory.  What do you think?  What has happened to the point in this hooked context?  I would love to hear your reactions in the comments.

I hooked the point red and the context green because complementary colors create the most vivid environment to "see" the color.  Thus the red should be seen to be more red in this context than any other.  I am calling my piece "To the Point".  I have had so much fun with it, that I am going to do a series to test out Kandinsky's other propositions about the point, line and plane.

The wools I used are: Red Jack Palette Wool - Nightshade Berry 160 (8-value pack); Pixie Green 154 (8-value pack); Fiddlehead 164 (8-value pack).  I hooked the point in a linear spiral.  I hooked the background by pebbling the entire surface of the linen by concentrating on the values of the greens.

Interested in the Seeing Red Challenge?  It's only a matter of months until the Seeing Red Exhibit opens in February 2011 at the Trolio Hotel in Canton, MS, curated by Lisanne Miller, ATHA Communications Director. Consider joining the challenge. Details are in the Feb/Mar issue of ATHA NEWSLETTER.