From the Vault

Lightening Bouquet #1 - 1990s

Welded Wire, Sheet Aluminium, Shingles, Rivets, Coated Wire

Terry Jarrard-Dimond

This morning we are once again peeking into "the Vault". During the time these pieces were made we (the world) was in a period of transitioning into the digital world and my record keeping was very poor. At this point I'm not totally confident in the title but Lightening Bouquet is close.

For some years I was represented by two different galleries in Atlanta, Ga. The Heath Gallery and The Signature Shop. Two very successful and high quality galleries with very different work and ways of working. Having work with two galleries in one town was rather unusual but it happened due to the prestige of the owner of The Signature shop, Blanch Reeves, and her relationship with the management of The Heath Gallery. The Heath showed my large work and the Signature Shop sold my smaller works.

Lightening Bouquet #1 - detail - 1990s

I made a number of pieces in this series working with very elongated "arrow-point" shapes, sometimes as single forms and sometimes in groups. I'll show you some of those another time. This work was sold to John Wieland Homes which is a large corporation which builds upscale homes around the US. The Signature Shop is still in operation and run by some of Blanche's younger relatives. Blanch was an institution in Atlanta and her shop was (I believe) the first craft shop in Atlanta.

Lightening Bouquet #2 - 1990s

Welded Wire, Sheet Aluminium, Shingles, Rivets, Coated Wire,

Linoleum Flooring and Rubber Washers

Terry Jarrard-Dimond

Lightening Bouquet #2 - detail - 1990s

The second piece, Lightening Bouquet #2 , is living a peaceful life in storage.

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From the Vault

Danger Danger

Terry Jarrard-Dimond

The idea of a singular expression of your creative self is a foreign concept to me. Danger Danger is made of welded wire, aluminium flashing, fabric, wire and roofing material. This piece was made in the 1990's. Due to lack of storage space, the work has been destroyed.

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From the Vault

Terry Jarrard-Dimond

The idea of a singular expression of your creative self is a foreign concept to me. This work is part of the Mark P. Coplan Collection and is now part of the work maintained by the South Carolina State Museum. Mark collection P. Coplan lived in Columbian, SC and was an avid collector of work by artists from South Carolina.

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From the Vault

Delicate Balance

Terry Jarrard-Dimond

The idea of a singular expression of your creative self is a foreign concept to me. Delicate Balance is made of wood, asphalt roofing and a stone and was made in the early 1990's.

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SECOND TRIP TO THE VAULT

Caged Crosses - 1979

Terry Jarrard-Dimond

wire - woven tape - string - 24 x 24 x 6

Today I am posting the second installation of work from my personal "vault". The pieces I am sharing today were made in 1979 - 1981 and all are three-dimensional works using welded fencing wire with fabric or some other material with a textile reference such as string, metal shavings, woven strapping and excelsior.

This work developed from my desire to make work which had dimension and welded wire or fence wire is ridgid and it was a natural solution for me as it has the ability to be worked into volumetric forms. The top piece is from an early group of 4 pieces which were very spare. The wire was made into very open structures and then "filled" in with woven tapes and cords. The patterns created on the wall from these additions was an important part of the piece as a whole.

Untitled - Date Unknown

Terry Jarrard-Dimond

wire - paint - excelsior - fabric - 16 x 12 x 2 inches

This small work is not only made with wire but filled with wire. The edges of the wire in the center have been painted red. The smaller box on the top left edge is filled is wood shavings and a bit of turquoise fabric.

The themes of work in this series range from windows to boxes. Looking out a window or into a windown was explored. The use of the box as a metaphor for people, situations and memories. The materials themselves were often the source of the idea for the work.

View Through Cleopatra's Window - 1981

Terry Jarrard-Dimond

wire, fabric - sheet aluminium - 34 x 32 x 6 inches

Now part of The State Art Collection

View Through Cleopatra's Window is one of the three works purchased for inclusion in The State Art Collection which was established by the South Carolina Arts Commission. This collection is now housed at the South Carolina State Museum in Columbia, SC.

One of the more extensive groups of work in this series used torn strips of commercially printed fabrics as seen in View Through Cleopatra's Window. These strips were wrapped, woven or tied to the framework along with shapes cut from sheet aluminium.

View Through A Windowbox - 1981

Terry Jarrard-Dimond

wire, fabric - sheet aluminium

This detail might give you a better idea of the density of the fabric and the compactness of the space. This is a detail from another piece in this series titled View Through A Windowbox.

Untitled - 1979

Terry Jarrard-Dimond

wire - gauze - string - 42 x 42 x 8 inches

When you enroll in a graduate program I believe it is necessary to become the student no matter where you believe yourself to be in regards to your art. This is hard for many artists. They feel they have achieved a level of competence with their work and it can be hard to accept the amount of input that you receive in this type of environment. I understood this and that knowledge allowed me to experiment and grow. As you progress in your studies and your insigh int your work deepens and you gain confidence it becomes more difficult to listen to or even allow as much criticism as you often receive. You learn to take yourself more seriously and trust your ideas which is exactly what should happen. You become approporately more protective of your ideas and your work and it is this belief in your work which helps you go out into the world and do your work. The piece pictured above was the result of my very first experiment with wire.

I made this piece one Sunday in my studio at school. I was alone and when I put it up and I sat and studied what I had made I knew it was important. While it is not "a masterpiece for all times" (not much graduate work is), the piece was pointing me in a direction that I pursued for some years. Before I left the studio that day, I carefully took it down and put it out of sight. I was not ready to share it with anyone and did not want to hear anything - good or bad - about the piece. I needed to absorb what I had made and what it ment to me without any outside interference. That was during my last semester of school. I knew I was ready to graduate.

Yellowcomb

This is a photograph taken inside a studio Tom and I shared. Tom built this building up in the mountains and we used it for about 10 years. My area was in the front of the building and his was in the back and you can see some of his paintings in the background. This shoot was taken in about 1993 and I'm working on some paintings for a portfolio of textile designs I was preparing for a job interview.

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Unlocking the Vault

Untitled - Ikat Dyed Wool

Handwoven by Terry Jarrard-Dimond

I remember a number of years ago when Disney began promoting the sales of older films by setting a date and saying that after that date the movies would go back into the vault. Well I'm doing the opposite, I'm unlocking the vault to share images of a range of types of work I have made. In most cases I only have pictures of the work and not the work itself. Many of the things I will be sharing with you in the coming year were sold or in some cases destroyed. (I'm a good self editor.)

Hand knotted cotton roving

MFA Thesis Exhibition - Clemson University

My undergraduate degree was a BA in Art and I waited 10 years before going back to school to work on an MFA. During the time between schools I had become very interested in weaving (like so many in the 1970s) and so weaving was the medium I was using when I began my advanced studies. My major professor, Mike Vatalaro, was a ceramist as there wasn't anyone at Clemson University to teach fibers. Due to that I put in many hours in the clay studio and I'll share some of that work another time. Mike was and is interested in clay as a material for sculpture and as I began to explore the world in 3-D with clay and it naturally flowed over into my fiber studio.

Hand knotted cotton roving

MFA Thesis Exhibition - Clemson University

I began by working with yarns, roving and cords which were tied and suspended to capture light or engage space in some specific manner. Later the fibers became wire and I will share some of those another day.

In my heart of hearts I prefer not to be limited to the title of "fiber artist" or quilter or etc. I like the simple concept of being an artist. Art can be made of any material that speaks to the artist and my love of materials and approaches can be seen in how I work and the materials I have used and hopefully will use in the future.

One artist who was fearless in the exploration of process and material was Eva Hesse and I could not resist including this photograph of myself in the Guggenheim Museum standing across the way from one of her fabulous works. Stay tuned. There will be more.

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