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| NATIONAL MUSEUM OF FILM, PHOTOGRAPHY AND TELEVISION, Bradford England | FABRIC ENVIRONMENTS |
WHITE CLOTH IS AN OPEN CANVAS FOR COLLECTING AND REFLECTING LIGHT, FILM AND IMAGE |
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Convergence |
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| Virtual reality model |
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| Confluence Fabric, film, video and light installation by John Toth designed for the National Museum of Photography, Film & Television in Bradford, England. CONFLUENCE SLIDE SHOW |
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| Public Installations | |
On July 7th , 1998 I received an e-mail from Imelda Kay, Design Director, at the National Museum of Photography, Film and Television in Bradford, England. Imelda saw my web page that featured my fabric installations and asked me to design a fabric work for the Museum. After receiving blue
prints of the site, I realized there were an incredible amount of obstacles and
restrictions that were evident in the archetectual plans, some of which were; numerous
vents, (intakes and outputs), lights, emergency lights, smoke detectors, infraerd motion
detectors and an emergency ventillation system that would remove smoke, in case of fire,
with the fury of gale force winds.
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| Fabric Is A Structure For Behavior | |
Perhaps the earliest memories we have of fabric are from the embryonic membrane that first served as our protective shelter. And immediately from the womb we were dressed in furs, blankets and clothes. |
As a child, I crawled under the quilting frame of my grandmother’s Slavic sewing circle. My back to the damp basement floor, I watched, under the quilting frame, as needles poked through the tightly stretched fabric, stitching remnants from our worn out shirts into brightly colored geometric patterns. Sitting around the perimeter, the husbands occasionally rose to readjust the clamps holding the quilt to the frame, testing the tension, aware of the surface. The lights above lit the fabric, coloring the shapes, as I watched below the patterns grew. I played under fabric landscapes that covered furniture in storage, in the scary part of the attic. Within the quiet moments of hide-and-seek, lying under the fabric protection, I discovered a place that gave refuge and a structure for visual fantasy. In later years, I camped in dark green resin soaked cotton canvas tents and watched shadowy trees and blistering light bend on sharp angles across the woven textured surface that promised, during rain, not to drip unless I touched it. As an artist I use fabric to mingle the mystery of materials from brightly colored nylon and synthetic grids to metallic meshes and translucent Mylar’s, with light, film and projected video John Toth, 1990 |
| defining links: | Installation Art Unlike traditional art works, installation art has no autonomous
existence. It is usually created at the exhibition site, and its essence is spectator participation. Installation art originated
as a radical art form presented only at alternative art spaces; its assimilation into mainstream museums
and galleries is a relatively recent phenomenon. The move of installation art from the margin to the
center of the From Margin to Center: The Spaces of Installation Art |
ARCHITECTURE - ART - ARTISTS - DANCE - DIGITAL- DRAWING - EDUCATION - EXHIBITIONS - FABRIC FORUMS - GALLERIES - INSTALLATION - INTERMEDIA - MUSEUMS - MUSIC - PAINTING - PERFORMANCE POETRY - PROJECTS - SCHOOLS - SCIENCE - SCULPTURE - THEORY - TECHNOLOGY - WRITING - VIDEO - VRML
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