Month: April 2018

The idea of a painting as something akin to a weave is one which facilitates several convenient associations. Apart from the literal weave of canvas, there is the interplay between layers, the superimposition of glazes, an infinity of textures and tonalities, and an equally unlimited scope for the arrangement of marks and painted motifs, arrangements often made stronger through varying degrees of separation than proximity. And this is to say nothing of illusory depth.

Channing Hansen arrived at his current preoccupation with knitting and weaving via an involvement in latter-day Fluxus and an interest in physics, fluid dynamics, and surgery theory. Employing a profound knowledge of fibres such as wool, alpaca, silk, and mohair, and an almost scientific dedication to sourcing and recording the provenance of the material he uses, Hansen creates irresistible, painterly weaves which he mounts on wooden stretchers. There are occasional gaps in the weave, and collisions of colour which may appear random, abstract. Hansen’s weaves however are largely determined by pre-applied computer algorithms, which dictate colour choice, pattern, and stitch.

George Maciunas would doubtless approve of this artist’s approach to the creative process – “Like a mathematical solution such a composition contains: beauty in the method alone.”*

*Taken from a Fluxus manifesto written by George Maciunas for the concert ‘Après John Cage’, Wiesbaden, 1962.