1 15 1 https://omeka.wilkes.edu/omeka/files/original/15094ca5a33ff7356f3a80614fe1dffd.pdf cd365ac77046293538fc8235b4a30020 PDF Text Text ��MANIFESTATIONS OF THE INDIGO SPIRIT SHIBORI WORKS OF RICHARD FULLER EXHIBITION CURATED STANLEY BY I GRAND ESSAYS BY STANLEY I GRAND RICHARD FULLER OCTOBER 24_DECEMBER I5, I999 SORDONI ART GALLERY, WILKES UNIVERSITY WILKES-BARRE, PENNSYLVANIA �Photo: Stanley I Crand Copyright O 1999 Sordoni Art Gallery, Will<cs I lrivorilr �ITI(]HARD FULLER: SHIBORI RITUALS Sl,rttlcy I Crand r J^- r,1S1, uhile orr sabbatical leave lrorn the Art Department ! ,rl Wilkcs College, Richard F'uller u'ent to fapan to leanr I tl,. rrrt of shibori. 'l'here, under the tLrtclage olmaster textile ,rrlisl rrrr<l dvcr Hiroyuki Shindo, he studied the fr-rndamentals of rlrilror.i, ulrich inr,.oh,es resist-dveing textiies so as to crcate prrlllrrrs. l,'rrller h:rs described the process as lollou.s: Slrilrrrri torncs fron the Japanesc r,erb root shiboru, "to riring, \(lu( ( z(' or prcss"-lvords th:rt enrphasize the action or process of rrrrrrrigrrrlrrlirrg cloth. In shibori the cloth is first shaped and secured rillr llrrcrrtl bcforc being irnmersed in the dvc. The cloth is then r. rrrovt rl fi-orrr thc vat and allori'ed to oridize in the air. This cicle is rr'pcrrltrl rrrrlil thc clcsired shade is attained. Once the dreing is r orrrplt.lc, tlrc cloth is untied and returncd to its original hro,lirnt rrsiornl shape. The cloth sensitivelv records both thc shape ,rrr,l llrr' plcssrrreexertcd bv the thrcads during thc er.posure to the rlr r'; llrt' "rrcnror\," of the shape remains imprinted in the cloth. I lrc t rrrplusis on \,ing the cloth and manual nanipulation rlislirrgrrislrcs shibori frorn the lr,ax-rcsist and clamping processes, l,,,llr ol u,lrich are also practiced in lapan. ,\lllrorrglr ancient, the origin of shibori is somervhat olrscrrrt'; ancl scholars disagree as to whether the technique is rrrrligt'rrorrs b Japan or carrie origir-rally from the mainiand. 'llrt'c:rrlicst surviving pieces of shibori are ir )apan, but r.ve lrrnrol srv rvith certaintl, rvhere they were rtade. Wl-rat is lcrl:rirr, lrowcvcr, is that the character lor shibori (ffi) is of ( )lrirrcsc origin. l,orrg rr st:rplc of the traclitional decorative arts in Japan, rlrilrrrli is rrrcntioned irt Man'yoshu, ari eighth-century rrrrllrologl of 1;oenrs that includes this coriplet: \\'/rcrr / rlrr"- u child with hair dowt I tttrc rt slaat,ed robe of shibori tct cbtlt.' my shoulders Incleecl, the clemand for shibori cloth g:rrments, inclucling const:nt turtil thc present century uhen it lell r,ictinr to thc nranv chlngcs that occnrred in Jap:mese socich,after the encl of World War II. Bv the latc r97os, interest in shibori had for all practical purposcs ceased. In other u'orcls, u'hen Fullcr t-ent to learrn the craft it lras practicalh' a de:rd art sfiose practice r,vas maint:rined bv Shindo and a fei,r, others. Sincc then, hou,er.er, shibori ]ras eniol'ed a revival of interest. F'uller's interest in textile design is ir.r part an outgrorvth of his background in ihe Neu, York advertising u,orld, where behveen 1956 and 1965, he u,as Art L)irector at Gardner Adr,ertising. His experiences thcre gave him a solicl grounding in hlo-dimensional design, u,hich he brought to Wilkcs kir-r-ronos, rcnrainecl rclativelr. in 1969. The major stimulus for his interest in textile clesign, hori,ever, came four vears later. ,A.fter losing all his possessions to tlre Susqrrehanna Rir.e r fl,ood of t972, Fuller voluntcered lbr a -r,ear of missionarv- work and u,as assigned to the Schutz Arnerican School in Alexandria, Egvpt, r,i4rere he becarne f:iscinated rvith "the aesthetic potential of local clyes." He has observ.ed il-rat "Exposure to Egyptian textiles and the great traditions ofresistdved fabrics in the N{iddle East stirnulated rne to clevelop and enhance my visual vocabulary in this me<lium." Returning to Wilkes-Barre, he sper.rt the next nine ,vcars ir-rvestigating the possibilities of batik rvhile also taking cor-rrses in textiles at The Pennsyh'ania State Universitl'(1976) and Parsons School of Design (r98z-83). Nter his trip to fapan, he decided that shibori rvoul<l be his primary rnedium and has explored its aeslhelic possibililies erer sirrr.e. Eight Paper Sacks in an Indigo Box (1984, Figure r) is one of the first pieces con-rpleted after F'uller's rehrrn from Japan. It consists of hvo halves of a small box covered in shibori ar-rd placed on a base ofurpolished rice, which evokes the raked �in a fapanese rock garden. In the boftom section ofthe box, Fuller has placed eight elegantly formed paper sacks that have been carefully stitched along their edges and secured with knotted purple strings. Side by side, in hvo rows, their bright cadmium red light contrasts with the deep rich indigo of the sand box. The overall effect is of a ceremonial offering of an ideal box, an impression furthered by the fact that the lid cannot be employed witl-rout crushing the paper sacks. What seems to be important is the ritual presentation, or rather the effort and care-note the mitered corners-that went into the preparation. Fuller has often taken a concept and explored it from various angles while maintaining a set of seltimposed limitations. In r99o he began a number of pattern pieces of whichTeh6n Series 4 (Figure z) is representative. The "Teh6n" or pattern in this work consists of three horizontal bands. Tl-re upper and lower bands are r-rearly identical and suggest rippling waves. The center panel contains an abstract arrangement of regular geometric shapes, primarily triangles, forming patterns of light and dark that recall the jagged edges created when great masses of ice collide and buckle on wintry northern lakes. Water fluid, water solid, water moving, water frozen: icy crystalline patterns held motionless between two rivers. Along with the series (think of Monet's cathedrals or Warhol's personalities), another quintessential element of modernist art is the gnd (Sol LeWitt's pristine white sculptures). Fuller's lndigo Crid Series 6 (rgg1, Figure 3) contains thirty-six squares ofshibori-dyed paper arranged to form a square. Some of the smaller squares contain pieces of dyed paper stitched together. He has allowed a slight looseness to enter tl-re composition: threads now extend beyond the paper instead of being cut flush with the surface. Also new is Fuller's incorporation of photographs (or, more precisely, fragments of photographs) of rural fapan that he has cut into thin bands. Like the strip of cloth on the lid of Eight Paper Sacks in an Indigo Box, these photographic relics bisect the indigo squares. Whereas in lndigo Crid Series 6, Fuller created a tension by contrasting the static grid with a circular movement caused by tonal shifts; in 9o/zz5 Q998, Figure 4) he contradicted the inherent flatness of the grid by raising some of his color squares off the surface. The grid itself is subtly delineated by embossed lines that divide the ground into zz5 squares (r5 on a side). The title simply indicates the number of units covered. In these most recent works, Fuller has continued to make shibori expressive of his own sensibilities by substituting photographs of dyed cloth for the original and introducing readymade objects like toy clothespins. Several factors distinguish Fuller's art from traditional )apanese processes. Most obviously, he does not use the dyed cloth to create garments or wall hangings. Rather, he uses shibori as a beginning, as a color palette, to create collages, grids, or boxes. These he designs according to Western, rather than Oriental, conventions. The content, as opposed to the design, combines the two traditions. The spiritual component seems to evoke traditional fapanese values: the tea ceremony, theZen o[arranging. Fuller's work has a ritual quality. Objects or patterns are delicately arranged. The boxes are microcosms of order. Randomness and expressionism have been banished. His cool, indigo compositions bespeak a cerebral, unemotional aesthetic. In his art, Fuller has created a controlled world, a refined parallel reality, beyond the accidents oflife and the ravages of nature. He draws inspiration from nature, but nature humanized and beneficent, controlled and ordered, devoid of wilderness and unpredictability. Yet fundamentally, his is a reconstructing, affirmative, healing art. Doubtless the predilection for order existed in his art before the deluvian chaos. Now that element of order predominates: calamity changes, calamity confirms. r. Quoted in Yoshiko Wada, Mary Kellogg Rice, and Jane Barton, Shibori: The lnventive Art of lapanese Shaped Resist Dyeing (Tokyo, 1983), 4. �r l t I lt,igltl Papcr Sac/is in tut huligo Box r r,1!i1 �Telfin 1990 Series I �NffiIf,XE IilNIGffi fl::trilfiI rtrr=fl IffiTreHI rcilr3$= �nilffii il iffiffiim ffi''' xffi ffi re ffii *I* ,!tr..,. .ffin Iru 9o/zz5 t998 mffi M "nff* wr �F :t,.,. MANIFESTATIONS OF THE INDIGO SPIRIT llicltard h'uller ,Tl I I p & IIE woRK in this exliibition rcflccts nrv intcrcst in thc llcatrq oIprittcrn. rr rcl-inccl scrt'itirih lrr u:rtrrrc. rrrr<l rr deep respect lor the )apanese dvc-rcsist proccss callccl slrilxrri. Wherr I retrrnrecl frorrr ny lirst trip to Jaltarr irr tc7ll4, I tliscoverecl thert living in Japan changccl nrv vicu's about Icirclring ancl set rlre on a new colusc rcgarding thc hrhrrc of rrrv aestl.retic clevelopn.rent. Mucl.r of rvhat I hacl rc:rcl about IIrc Ja1>anese culture an<l Zen phiIosophl' sudclenlr' bccaunc :r vital l>art of my everyclay experience. I found mvself in an t'nvironrnent in which the notion of tl.re inseparable link lrctrveen nature ancl man becarne more clcarlv defined. While rvorking with the indigo d1'er, Hiroi,uki Shindo, I pcrceived the profound forces of nature rvhich surrounded me in Miyarna, a little farn'ring village in the mountains of Northern K1,oto. Nah,rre, the origin of all life, was a source of inspiration ftrr nry creative u,ork. The patterns in rny work do not copy rrithrre, but are intuitively derived through m1, intelpretation of tlrc cssence of natural form. For rne, beautiful patterns syrnbolizc nature, and are n-ranifest during the d1'eing process. Slrinclo oltcrr s1>okc of thc (locl of incligo (Aizen Sltin) in rclatiorr to his r.r,ork. Ilottlcs of sakc, which werc introclucccl into his incligo vats, u,crc tnkcn to thc villagc sltrinc to bc blesscd by thc Iltrcldhist pricsts. 'l'hc ()ocl of incligo ltrotcctecl the shrdio, arrd the sake u':rs one ingrcdient, anrong others, tlrat allowcd thc clotlr to receive a cleep incligo huc rvith strbtle variations of light ancl clark. My journal refcrcnccs of that tine suggest that an e\,er-present "spirit" prer,:rilecl ir.r Shinclo's studio. It rnav be said that the "indigo spirit" is the rnysterious energv that gives life to the work. Tl.re beauty found in these incligo patterns, not unlike the beaut,v lound in natnre, requires time to appreciate. It is m1, desire that you vieu' m1, work as you rvould a flou'er slow1y opening its petals for the first tin're. ,{lls11, yourself to be drau,n into the alluring color of indigo, the nattrral qualities ofpaper and cloth, and the bcautiful patternsall of which l-rave inspired rne to explore thc essence of nature wl-rile hor-roring a dl'e-resist process rooted in fapanese tradition. �CHECKLIST OF THE EXHIBITION Dimensions are given in inches, height precedes width precedes depth. Unless otherwise indicated, works are courtesy of the artist. t Eight Paper Sacks in an lndigo Box, ry84 rc foamcore, indigo dyed cotton, paper, rice 5x5 TxtSVzxSYz z Five lndigo Boxes, ry84 foamcore, indigo dyed cotton, rice, wood 4X20Xt2 3 Four Wrapped Boxes, ry84 foamcore, indigo dyed cotton 3zxSxzYz 4 r Untitled Collage 7, ry9o indigo dyed cotton (shibori) Rainforest, r99z indigo dyed paper (arashi shibori) n Untitled Collage 8, rygo indigo dyed cotton (shibori) 5x, 6 Untitled Collage z, ry89 indigo dyed cotton (shibori) 5x5 4 7 Untitled Collage 4, ry89 indigo dyed cotton (shibori) \ 5x5 9 Untitled Collage 5, ry89 indigo dyed cotton (shibori) 5x5 $ rygz Untitled Collage z, r99z indigo dyed paper (arashi shibori), batik ttx14 Untitled Collage D, tggo Untitled Collage 4, rygz indigo dyed cotton (shibori) indigo dyed paper (arashi shibori), batik t4x Series 4 r99o indigo dyed cotton (shibori) t6 4 indigo dyed paper (arashi shibori), batik 11X14 5x5 ry Teh6n 5x, 8 1990 Untitled Collage indigo dyed cotton (shibori) 5x5 5x5 Untitled Collage 3, ry89 indigo dyed cotton (shibori) 4Yz x 89 ry Untitled Collage rr, indigo dyed cotton (shibori) 5x5 Sxro Collection of Dr. Darlene Miller-Lanning 5 Untitled Collage 4 ry8g Collection of Dr. and Mrs. Stuart Richardson Teh6n Series 5, r99o indigo dyed cotton (shibori) Collection of Dr. Robert W Bohlander Flower Box 4 :,988 wood, indigo dyed cotton, thread 5Yzx6Yzx6Yz Untitled CoIIage 6, ry8g indigo dyed cotton (shibori) t7 Untitled Collage 5, rygz indigo dyed paper (arashi shibori), batik 5xro 14xrr Teh6n Series z, t99o indigo dyed cotton (shibori) Untitled Collate 6, ry92 5xro 14x Teh6n Series 3, tggo indigo dyed cotton (shibori) Untitled Collage 7, ry92 SXto 14xrl indigo dyed paper (arashi shibori), batik Lt indigo dyed paper (arashi shibori), batik Teh6n Series 4, r99o indigo dyed cotton (shibori) Untitled Collage 8, rygz 5x10 rrx14 indigo dyed paper (arashi shibori), batik �z8 Untitled Collage rc, r9g2 indigo dyed paper (arashi shibori), batik 11x14 zg lJntitled, ryg3 indigo dyed paper (arashi shibori), batik 18 x z4Yz 7o Untitled, ry93 indigo dyed paper (shibori), handmade paper 4Yz y x zoY+ lndigo Box 4 rg94 indigo dyed thread (shibori), glass, wood TxTxzYz 7z lndigo Box z, 1994 indigo dyed cotton (shibori), rice, glass, wood TxTxzYz Collection of Mr. Herbert B. Simon 33 lndigo Box 3, 1994 indigo dyed cotton (shibori), glass, wood 7x7xzlz 34 lndigo Box 4, 1994 indigo dyed paper (shibori), rice, glass, wood TxTxzVz 75 lndigo Box 5, 1994 indigo dyed paper (shibori), glass, wood TxTxzYz 36 lndigo Box 6, ry94 indigo dyed thread, rice, glass, wood TxTxzYz 77 lndigo Box 7, 1994 indigo dyed wood (clothespins), glass, 45 lndigo Gid Series 7, 996 indigo dyed paper, batik nYz x nYz wood TxTxzYz 46 lndigo Gid Series 8, ry96 38 lndigo Box 8, 994 indigo dyed handmade paper, rice, indigo dyed paper, batik, thread nYz x nYz Collection of Ms. Laura Moses glass, wood TxTxzYz 47 67/225, ry98 19 lndigo Crid Series 4 ry95 indigo dyed paper, batik oYz x pYz Collection of Mr. and Mrs. Paul Chance 4o lndigo Grid Series z, x nYz Collection of Mr. and Mrs. Paul Chance 4r lndigo Cid Series 3, 1995 indigo dyed paper, photography rzt/z x rz/z 4z Indigo Grid Series 4, 1995 indigo dyed paper, photography nYz x pYz 43 lndigo Grid Series 5, t995 indigo dyed paper, photography vVz x ul/z 44 lndigo Grid Series 6, 1995 indigo dyed paper, photography pYz x uYz 48 67/225, ry98 procion dyed paper, foamcore, acetate, color Xerox 15x15 1995 indigo dyed paper, batik uYz procion dyed paper, foamcore 15x15 49 7/n5, ry98 photography, foamcore, paper, wood, thread 15x15 5o 8z/zz5, :9g8 photography, foamcore, paper, thread r5x15 5r go/225, ry98 photography, foamcore, acetate, wood, thread 15x15 5z 9z/225,998 photography, foamcore, wood, thread 15x15 �EXHIBITION UNDERWRITERS ADVISORY COMMISSION Friends of tl're Sorcloni Art Gallery Bonnie C. Bedford, Ph.D. M&TBank ACKNOWLEDGMENTS This catalogue has been made possible Freddie Bittenber-rcler Maslorv Lr-rmia Bartorillo Aclvcrtising Pcnnsylvania Council ol the Arts Christopher N. llreiseih, Ph.D The )ohn Sloar-r Mer.nori:rl Virginia C. Davis, Chair Star-rley I Grand, Ph.D. I,bunclirtion, hrc. Ardrew J. Sordoni, III Wilkes Uriversity Marior-r M. Conynghan-r Robert f . He:rm:rn, Ph.L). Mary )ar-re Henry Keith A. I{ur.rter, Esc1. Michael Lennor.r, Pl.r.D. Mclanie Maslow Lumia SPONSORS J. 'l'hc Business Cour.rcil 'I'l.reo Lunria Keureth Marcluis CBI-Creative Business Intcriors Marcluis Art :incl l,'rarre PNC Bank, NA Parrzittir Euterprises. Irrc. STAFF Starrley I Grar-rd, Ph.D., Director Nancy L. Cranci, Coordinator Earl W. Lehrnan, Preparator Callery Attendants Deiclre Blake Peter Czwalina Natalee Felten Marcy Fritz lill Klicka Christopher Rehmann Casey Williams Hank O'Neal Arnolcl Ilifkin Charles A. Shaffer, rooo copies were printed by Llewellyn & McKane lrsc1. Shoenaker, Willian Shull Strs:rn Aclams Ileler Esc1. F-arr Sloan Anclrew ). Sordoni, III Sanforcl B. Sterr-rlieb, M.D. Mindi Thalenfeld Joel Zitolsky tl.rrough the generous srlpport olWilkes Ur.riversity, including the Offices of the President, the Vice President for Acaderric Affairs, and tl.re L)ean of the College of Arts, Scicnces & Professional Stuclies. The Sordoni Art Gallery appreciates the generosity of tl-re followilg indivicluals who lent works to this exhibition: Dr. Robert W. Bohlau-rdcr, Mr. and Mrs. Paul Chance, Dr. D:irlcne MiIIer-Lanr-rir.rg, Ms. Laura Moses, Dr. and Mrs. Stuart Richarclson, ancl Mr-. Flerbcrt B. Simorr. Catalogue design: Johr Beck Pl.rotography: Michael'l'hornas Calligraphy: 1 F r-ryoko Umed:r ypefaces Display: Ccntaur (Bruce Rogers, r9r5) Text: Electra (W. A. Dwiggins, 1937) ISBN o-942945-rB-z ��� https://omeka.wilkes.edu/omeka/files/original/9a3501aaaf5cd609420df9a7950bc07a.pdf 09dfad0e965a242be4a5ce77fd68c625 PDF Text Text �1 i MANIFESTATIONS OF THE INDIGO SPIRIT SHIBORI WORKS OF RICHARD FULLER 3 1 ,T A EXHIBITION CURATED BY STANLEY I GRAND ESSAYS BY E.S. FARLEY LIBRARY WILKES UNIVERSITY WILKES-BARRE, PA STANLEY I GRAND RICHARD FULLER OCTOBER. 24-DECEMBER 15, 1999 SORDONI ART GALLERY. WILKES UNIVERSITY WILKES-BARRE. PENNSYLVANIA �"‘kj- ■- :•••• ARCHIVES £ ARCRD 5 ScRR i\j \ q5 oH • RICHARD FULLER: SHIBORI R ~7 Stanley I Grand r7 TJ“n 1984, while on sabbatical leave from the Ari Department I at Wilkes College. Richard fuller went to Japan to learn JL the art of shibori. There, under lire tutelage of master textile artist and dyer Hiroyuki Shindo, he studied the fundamentals of shibori, which involves resist-dyeing textiles so as to create patterns. Fuller has described the process as follows: Shibori comes from the Japanese verb root shiboru, “to wring, squeeze or press”—words that emphasize the action or process of manipulating cloth. In shibori the cloth is first shaped and secured with thread before being immersed in the dye. The cloth is then removed from the vat and allowed to oxidize in the air. This cycle is repeated until the desired shade is attained. Once the dyeing is complete, the cloth is untied and returned to its original twodimensional shape. The cloth sensitively records both the shape and the pressure exerted by the threads during the exposure to the dye; the “memory” of the shape remains imprinted in the cloth. The emphasis on lying the cloth and manual manipulation distinguishes shibori from the wax-resist and clamping processes, both of which arc also practiced in Japan. Photo: Stanley' I Grand Although ancient, the origin of shibori is somewhat obscure; and scholars disagree as to whether the technique is indigenous to Japan or came originally from the mainland. The earliest surviving pieces of shibori are in Japan, but we cannot say with certainty’ where they were made. What is certain, however, is that the character for shibori ($■£) is of Chinese origin. Long a staple of the traditional decorative arts in Japan, shibori is mentioned in Manydshu, an eighth-century' anthology' of poems that includes this couplet: Copyright © Sordoni Art Callcry. Wilier Urmerrity When I was a child with hair down to my shoulders 1 wore a sleeved robe of shibori cloth.' �RICHARD FULLER: SHIBORI RITUALS Stanley I Grand 19S4. while on sabbatical leave from the Art Department at Wilkes College, Richard Fuller went to Japan to leam the art of shibori. There, under the tutelage of master textile artist and dyer Hiroyuki Shindo, he studied the fundamentals of shibori. which involves resist-dyeing textiles so as to create patterns. Fuller has described the process as follows: Shibori comes from the Japanese verb root shiboru, “to wring, squeeze or press"—words that emphasize the action or process of manipulating cloth. In shibori the cloth is first shaped and secured with thread before being immersed in the dye. The cloth is then removed from the vat and allowed to oxidize in the air. This cycle is repeated until the desired shade is attained. Once the dyeing is complete, the cloth is untied and returned to its original twodimensional shape. The cloth sensitively records both the shape and the pressure exerted by the threads during the exposure to the dye: the "memory” of the shape remains imprinted in the cloth. The emphasis on tying the cloth and manual manipulation distinguishes shibori from the wax-resist and clamping processes, both of which are also practiced in Japan. I Grand Although ancient, the origin of shibori is somewhat obscure; and scholars disagree as to whether the technique is indigenous to Japan or came originally from the mainland. The earliest surviving pieces of shibori are in Japan, but we cannot say with certainty' where they were made. What is certain, however, is that the character for shibori ($£) is of Chinese origin. Long a staple of the traditional decorative arts in Japan, shibori is mentioned in Man’yoshu, an eighth-century anthology of poems that includes this couplet: Copyright , 1999 Sordoni Art Callen. Wilkes University When I was a child with hair down to my shoulders I wore a sleeved robe of shibori cloth.' Indeed, the demand for shibori cloth garments, including kimonos, remained relatively constant until the present century when it fell victim to the many changes that occurred in Japanese society' after the end of World War II. By the late 1970s, interest in shibori had for all practical purposes ceased. In other words, when Fuller went to learn the craft it was practically' a dead art whose practice was maintained by Shindo and a few others. Since then, however, shibori has enjoyed a revival of interest. fuller’s interest in textile design is in part an outgrowth of his background in the New York advertising world, where between 1956 and 1965, he was Art Director at Gardner Advertising. His experiences there gave him a solid ground­ ing in two-dimensional design, which he brought to Wilkes in 1969. The major stimulus for his interest in textile design, however, came four years later. After losing all his possessions to the Susquehanna River flood of 1972, Fuller volunteered for a year of missionary' work and was assigned to the Schutz Ameri­ can School in Alexandria, Egypt, where he became fascinated with “the aesthetic potential of local dyes.” He has observed that “Exposure to Egyptian textiles and the great traditions of resistdyed fabrics in the Middle East stimulated me to develop and enhance my visual vocabulary in this medium.” Returning to Wilkes-Barre, he spent the next nine years investigating the possibilities of batik while also taking courses in textiles at The Pennsylvania State University' (1976) and Parsons School of Design (1982-83). After his trip to Japan, he decided that shibori would be his primary' medium and has explored its aesthetic possibilities ever since. Eight Paper Sacks in an Indigo Box (1984, Figure 1) is one of the first pieces completed after Fuller’s return from Japan. It consists of two halves of a small box covered in shibori and placed on a base of unpolished rice, which evokes the raked �: •1 sand in a Japanese rockgarden. In the bottom section of the box, Fuller has placed eight elegantly formed paper sacks that have been carefully stitched along their edges and secured with knotted purple strings. Side by side, in two rows, their bright cadmium red light contrasts with the deep rich indigo of the box. The overall effect is of a ceremonial offering of an ideal box, an impression furthered by the fact that the lid cannot be employed without crushing the paper sacks. What seems to be important is the ritual presentation, or rather the effort and care—note the mitered corners—that went into the preparation. Fuller has often taken a concept and explored it from various angles while maintaining a set of self-imposed limitations. In 1990 he began a number of pattern pieces of which Tehdn Series 4 (Figure 2) is representative. The “Tehdn” or pattern in this work consists of three horizontal bands. The upper and lower bands are nearly identical and suggest rippling waves. The center panel contains an abstract arrangement of regular geometric shapes, primarily triangles, forming patterns of light and dark that recall the jagged edges created when great masses of ice collide and buckle on wintry northern lakes. Water fluid, water solid, water moving, water frozen: icy crystalline patterns held motionless between two rivers. Along with the series (think of Monet’s cathedrals or Warhol’s personalities), another quintessential element of modernist art is the grid (Sol LcWitt’s pristine white sculp­ tures). Fuller’s Indigo Grid Series 6 (1995, Figure 3) contains thirty-six squares of shibori-dyed paper arranged to form a square. Some of the smaller squares contain pieces of dyed paper stitched together. He has allowed a slight looseness to enter the composition: threads now extend beyond the paper instead of being cut flush with the surface. Also new is Fuller’s incorporation of photographs (or, more precisely, fragments of photographs) of rural Japan that he has cut into thin bands. Like the strip of cloth on the lid of Eight Paper Sacks in an Indigo Box, these photographic relics bisect the indigo squares. Whereas in Indigo Grid Series 6, Fuller created a tension by contrasting the static grid with a circular movement caused by tonal shifts; in 90/225 (1998, Figure 4) he contra­ dicted the inherent flatness of the grid by raising some of hicolor squares off the surface. The grid itself is subtly delin­ eated by embossed lines that divide the ground into 225 squares (15 on a side). The title simply indicates the number of units covered. In these most recent works, Fuller has continued to make shibori expressive of his own sensibilities by substituting photographs of dyed cloth for the original and introducing readymade objects like toy clothespins. Several factors distinguish Fuller’s art from traditional Japanese processes. Most obviously, he does not use the dyed doth to create garments or wall hangings. Rather, he uses shibori as a beginning, as a color palette, to create collages, grids, or boxes. These he designs according to Western, rather than Oriental, conventions. The content, as opposed to the design, combines the two traditions. The spiritual component seems to evoke tradi­ tional Japanese values: the tea ceremony, the Zen of arrang­ ing. Fuller’s work has a ritual quality. Objects or patterns arc delicately arranged. The boxes are microcosms of order. Randomness and expressionism have been banished. His cool, indigo compositions bespeak a cerebral, unemotional aesthetic. In his art, Fuller has created a controlled world, a refined parallel reality, beyond the accidents of life and the ravages of nature. He draws inspiration from nature, but nature human­ ized and beneficent, controlled and ordered, devoid of wilderness and unpredictability. Yet fundamentally, his is a reconstructing, affirmative, healing art. Doubtless the predilection for order existed in his art before the deluvian chaos. Now that clement of order predominates: calamity changes, calamity confirms. 1. Quoted in Yoshiko Wada, Mary Kellogg Rice, and Jane Barton. Shibori: The Inventive Art of Japanese Shaped Resist Dyeing (Tokyo. 1983), 14. Eight Paper Sacks in an Indigo Box 1984 �225 (1998. Figure 4) he contra>f the grid by raising some of his The grid itself is subtly delindivide the ground into 225 tie simply indicates the number >st recent works, Fuller has tpressive of his own sensibilities )f dved cloth for the original and :ts like tor* clothespins. Fuller's art from traditional iouslv. he does not use the dved all hangings. Rather, he uses olor palette, to create collages, igns according to Western, rather > the design, combines the two ronent seems to evoke tradia ceremony, the Zen of arrangqualitv. Objects or patterns are :s are microcosms of order. ;m have been banished. His tpeak a cerebral, unemotional •d a controlled world, a refined cidents of life and the ravages of Tom nature, but nature human?d and ordered, devoid of ty. Yet fundamentally, his is a •aling art. Doubtless tire in his art before the deluvian rder predominates: calamity Jan* Kellogg Rice, and Jane Barton. ?se Shaped Resist Dyeing (Tokyo, Eight Paper Sacks in an Indigo Box 1984 �.... ... ... ..... ... . �Indigo Grid Series 6 ■995 �MANIFESTATIONS Or THE INDIGO Sil Richard Fuller ni □ i it L_—u 90/225 1998 kkaii HE WORK in this exhibition reflects mv interest in the beauty of pattern, a refined sensitivity to nature, and a deep respect for the Japanese dye-resist process called shibori. When I returned from my first trip to japan in 1984,1 discovered that living in japan changed mv views about teaching and set me on a new course regarding the future of my aesthetic development. Much of what I had read about the Japanese culture and Zen philosophy suddenly became a vital part of my everyday experience. I found myself in an environment in which the notion of the inseparable link between nature and man became more clearly defined. While working with the indigo dyer, 1 liroyuki Shindo, I perceived the profound forces of nature which surrounded me in Miyama, a little farming village in the mountains of Northern Kyoto. Nature, the origin of ah life, was a source of inspiration for my creative work, The patterns in my work do not copy nature, but are intuitively derived through my interpretation of the essence of natural form. For me, beautiful patterns symbol­ ize nature, and are manifest during the dyeing process. Shindo often st relation to his wo into Ins indigo va blessed bv the Bn the studio, and th that allowed the i subtle variations 1 that time suggest Shindo’s studio. I mysterious energ The beauty fo the beauty fount is my desire that slowly opening i be drawn into tl qualities of papr all of which has nature while hoi tradition. �MANIFESTATIONS OF THE INDIGO SPIRIT Richard Fuller HE WORK in this exhibition reflects my interest in the beaut}’ of pattern, a refined sensitivity to nature, and a deep respect for the Japanese dye-resist process called shibori. When I returned from my first trip to Japan in 1984, I discovered that living in Japan changed my views about teaching and set me on a new course regarding the future of my aesthetic development. Much of what I had read about the Japanese culture and Zen philosophy suddenly became a vital part of my every-day experience. I found myself in an environment in which the notion of the inseparable link between nature and man became more clearly defined. While working with the indigo dyer, Hiroyuki Shindo, I perceived the profound forces of nature which surrounded me in Miyama, a little farming village in the mountains of Northern Kyoto. Nature, the origin of all life, was a source of inspiration for mv creative work. The patterns in my work do not copy­ nature, but are intuitively derived through my interpretation of the essence of natural form. For me, beautiful patterns symbol­ ize nature, and are manifest during the dyeing process. Shindo often spoke of the God of indigo (Aizen Shin) in relation to his work. Bottles of sake, which were introduced into his indigo vats, were taken to the village shrine to be blessed by the Buddhist priests. The God of indigo protected the studio, and the sake was one ingredient, among others, that allowed the cloth to receive a deep indigo hue with subtle variations of light and dark. My journal references of that time suggest that an ever-present “spirit" prevailed in Shindo’s studio. It may be said that the “indigo spirit" is the mysterious energy- that gives life to the work. The beauty' found in these indigo patterns, not unlike the beauty found in nature, requires time to appreciate. It is my’ desire that you view my work as you would a flower slowly opening its petals for the first time. Allow yourself to be drawn into the alluring color of indigo, the natural qualities of paper and cloth, and the beautiful patterns— all of which have inspired me to explore the essence of nature while honoring a dye-resist process rooted in Japanese tradition. n■I I B■ �CHECKLIST OF THE EXHIBITION .io-.-x ,;r-c s:\cn in inches, height precedes width precedes depth. 1 u'ess ctccrwise indicated, works are courtesy of the artist. Riper Such' in an Indigo Box. 1984 1 ilwncore. indigo dyed cotton, paper, rice - x iSSS x 13^2 z Fnv Indigo Boxes. 19S4 foamcore. indigo dyed cotton, rice, wood 4 x 20 x 12 2 Four Wrapped Boxes, 1984 tbamcore. indigo dyed cotton -xSx:h 4 Flower Box 1. 19SS wood, indigo dyed cotton, thread 572 X 6^2 X 6/2 5 Untitled Collage 1, 1989 indigo dyed cotton (shibori) 5X5 Collection of Dr. and Mrs. Stuart Richardson 6 Untitled Collage 2, 1989 indigo dyed cotton (shibori) 5X5 7 Untitled Collage 3, 1989 indigo dyed cotton (shibori) 5X5 8 Untitled Collage 4, 1989 indigo dyed cotton (shibori) 5'5 9 Untitled Collage 5, 1989 indigo dyed cotton (shibori) 5'5 IO Untitled Collage 6, 1989 indigo dyed cotton (shibori) 5X5 19 Tehon Series 5, 1990 indigo dyed cotton (shibori) Collection of 5 x 10 Collection of Dr. Robert W. Bohlander Dr. Darlene Miller-Lanning 11 Untitled Collage 7, 1990 indigo dyed cotton (shibori) 5X 5 28 Untitled Collage 10. 1992 indigo dyed paper (arashi shibori), batik 11 x 14 29 Untitled, 1993 indigo dyed paper (arashi shibori.. batik 20 Bainforest, 1992 18 x 24/2 indigo dyed paper (arashi shibori) 23I/2 x 89 30 Untitled, 1993 indigo dyed paper (shibori), 12 Untitled Collage 8, 1990 indigo dyed cotton (shibori) 5X 5 13 Untitled Collage 11, 1990 indigo dyed cotton (shibori) 5X 5 14 Untitled Collage 12, 1990 21 Untitled Collage 1, 1992 indigo dyed paper (arashi shibori), batik handmade paper 4V2 x 2014 11 x 14 22 Untitled Collage 2, 1992 indigo dyed paper (arashi shibori), batik 31 Indigo Box 1, 1994 indigo dyed thread (shibori), glass, wood 7 x 7 x 2/2 11 x 14 23 Untitled Collage 4, 1992 32 Indigo Box 2, 1994 indigo dyed cotton (shibori), rice, glass, indigo dyed cotton (shibori) indigo dyed paper (arashi shibori), batik wood 5X5 H x 11 7 X 7 X 214 15 Tehon Series 1, 1990 indigo dyed cotton (shibori) 5 x 10 16 Tehon Series 2, 1990 indigo dyed cotton (shibori) 5 x 10 24 Untitled Collage 5, 1992 indigo dyed paper (arashi shibori), batik 14 x 11 25 Untitled Collage 6, 1992 indigo dyed paper (arashi shibori), batik 14 x 11 Collection of Mr. Herbert B. Simon 33 Indigo Box 3, 1994 indigo dyed cotton (shibori), glass, wood 37 Indigo Box 1994 indigo dyed wood (clothespins), glass, wood 7 x 7 x 2Y2 38 Indigo Box 8, 1994 indigo dyed handmade paper, rice, glass, wood 7 X 7 X 2*/2 39 Indigo Grid Series 1. 1995 indigo dyed paper, batik 12/2 x 12I6 Collection of Mr. and Mrs. Paul Chance 40 Indigo Grid Series 2. 1995 indigo dyed paper, batik iz’/i x 12*6 Collection of Mr. and Mrs. Paul Chance 41 Indigo Grid Scries 3, 1995 indigo dyed paper, photography 12H x 12'16 42 Indigo Grid Scries 4. 1995 indigo dyed paper, photography 12V2 x 12V2 wood 17 Tehon Series 3, 1990 indigo dyed cotton (shibori) 5 x 10 18 Tehon Series 4, 1990 indigo dyed cotton (shibori) 5 x 10 26 Untitled Collage 7, 1992 indigo dyed paper (arashi shibori), batik 14 x 11 27 Untitled Collage 8, 1992 indigo dyed paper (arashi shibori), batik n x 14 7 X 7 x 2/2 35 Indigo Box 5, 1994 indigo dyed paper (shibori), glass, wood 7 X 7 X 2I6 36 Indigo Box 6, 1994 indigo dyed thread, rice, glass, wood 7 x 7 x 216 46 Indigo Grit indigo dye1212 x 12F2 CoHecfion 4- 67/225, 199 procion d\ 15X 15 48 6-/225, >9< procion d\ color Xerc 15x15 49 73/225, 194 photograp thread 15 x 15 50 82/225. 194 photograp 15x15 7 x 7 x 2V2 34 Indigo Box 4, 1994 indigo dyed paper (shibori), rice, glass, 45 Indigo Gric indigo d\e< 43 Indigo Grid Series 5, 1995 indigo dyed paper, photography 12J6 x 12V2 44 Indigo Grid Series 6, 1995 indigo dyed paper, photography x 12V2 51 90/225. 194 photograp thread 15 x 15 52 92/225, 19 photograj 15x15 �19 Tehon Series 5, 1990 indigo dyed cotton (shibori) 5 x 10 Collection of Dr. Darlene Miller-Lanning 20 Rainforest, 1992 indigo dyed paper (arashi shibori) 23% x 89 21 Untitled Collage 1, 1992 indigo dyed paper (arashi shibori), batik 11x4 22 Untitled Collage 2, 1992 indigo dyed paper (arashi shibori), batik 11 x 14 23 Untitled Collage 4,1992 indigo dyed paper (arashi shibori), batik 14 x 11 24 Untitled Collage 5, 1992 indigo dyed paper (arashi shibori), batik 14 x 11 25 Untitled Collage 6, 1992 indigo dyed paper (arashi shibori), batik 14 x 11 26 Untitled Collage 7, 1992 indigo dyed paper (arashi shibori), batik 14x11 27 Untitled Collage 8, 1992 indigo dyed paper (arashi shibori), batik 11 x 14 28 Untitled Collage 10, 1992 indigo dyed paper (arashi shibori), batik 11 x 14 29 Untitled, 1993 indigo dyed paper (arashi shibori), batik 18 x 24% 30 Untitled, 1993 indigo dyed paper (shibori), handmade paper 4% x 2014 31 Indigo Box 1, 1994 indigo dyed thread (shibori), glass, wood 7 x 7 x 2% 32 Indigo Box 2, 1994 indigo dyed cotton (shibori), rice, glass, wood 7 x 7 x 2% Collection of Mr. Herbert B. Simon 33 Indigo Box 3, 1994 indigo dyed cotton (shibori), glass, wood 7 x 7 x 2V2 34 Indigo Box 4, 1994 indigo dyed paper (shibori), rice, glass, wood 7 x 7 x 2% 35 Indigo Box 5, 1994 indigo dyed paper (shibori), glass, wood 7x7x2% 36 Indigo Box 6, 1994 indigo dyed thread, rice, glass, wood 7 x 7 x 2% 37 Indigo Box 7, 1994 indigo dyed wood (clothespins), glass, wood 45 Indigo Grid Series 7, 1996 indigo dyed paper, batik 12% X 12% 7 X 7 X 2% 38 Indigo Box 8, 1994 indigo dyed handmade paper, rice, glass, wood 7 x 7 x 2% 39 Indigo Grid Series 1, 1995 indigo dyed paper, batik 12% x 12% Collection of Mr. and Mrs. Paul Chance 40 Indigo Grid Series 2, 1995 indigo dyed paper, batik 12% x 12% Collection of Mr. and Mrs. Paul Chance 46 Indigo Grid Series 8, 1996 indigo dyed paper, batik, thread 12% x 12% Collection of Ms. Laura Moses 47 67/225, 1998 procion dyed paper, foanicore 15 x 15 48 67/225, 1998 procion dyed paper, foamcore, acetate, color Xerox 15 x 15 49 73z—5. ‘99s photography, foanicore, paper, wood, thread i5x 15 41 Indigo Grid Series 3, 1995 indigo dyed paper, photography 12% x 12% 50 82/225, 1998 photography, foanicore, paper, thread 42 Indigo Grid Series 4, 1995 indigo dyed paper, photography 51 90/225, 1998 photography, foanicore, acetate, wood, thread 15x15 12% x 12% 43 Indigo Grid Series 5, 1995 indigo dyed paper, photography 12% x 12% 44 Indigo Grid Series 6, 1995 indigo dyed paper, photography 12% x 12% x 15 52 92/225, 1998 photography, foamcore, wood, thread 15 x b �-^ggggsag EXHIBITION UNDERWRITERS Friends of the Sordoni Art Gallery M & T Bank Maslow Lumia Bartorillo Advertising Pennsylvania Council on the Arts The John Sloan Memorial Foundation, Inc. Andrew J. Sordoni, III Wilkes University SPONSORS The Business Council CBI-Creative Business Interiors Marquis /\rt and Frame PNC Bank, NA Panzitta Enterprises, Inc. STAFF Stanley I Grand, Ph.D., Director Nancy L. Grand, Coordinator Earl W. Lehman, Preparator Gaiter)' Attendants Deidre Blake Peter Czwalina Natalee Felten Marcy Fritz Jill Klicka Christopher Rehmann Casey Williams advisory COMMISSION Bonnie C. Bedford, Ph.D. Freddie Bittenbender Christopher N. Breiscth, Ph.D. Marion M. Conyngham Virginia C. Davis, Chair Stanley 1 Grand, Ph.D. Robert J. Heaman, Ph.D. Mary Jane I lenry Keith A. Hunter, Esq. J. Michael Lennon, Ph D. Melanie Maslow Lumia Theo Lumia Kenneth Marquis Hank O’Neal .Arnold Rifkin Charles A. Shaffer, Esq. Susan /Adams Shoemaker, Esq. William Shull Helen Farr Sloan Andrew J. Sordoni, III Sanford B. Sternlieb, M.D. Mindi Thalenfeld Joel Zitofsky ACKNOWLEDGMENTS This catalogue has been made possible through the generous support of Wilkes University, inchiding the Offices of the President, the Vice President for Academic Affairs, and the Dean of the College of Arts, Sciences & Professional Studies. The Sordoni Art Gallery appreciates the generosity of the following individuals who lent works to this exhibition; Dr. Robert W. Bohlander, Mr. and Mrs. Paul Chance, Dr. Darlene Miller-Lanning, Ms. Laura Moses, Dr. and Mrs. Stuart Richardson, and Mr. Herbert B. Simon. 1000 copies were printed by Llewellyn & McKanc Catalogue design: John Beck Photography: Michael Thomas Calligraphy: Fuyoko Umcda Typefaces Display: Centaur (Bruce Rogers, 1915) Text: Electra (W. A. Dwiggins, 1937) ISBN 0-942945-18-2 �■J /■, r1.- ■■■■■I WILKES UNIVERSITY LIBRARY t GAYLORD FG r �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1999 October 24 Manifestations of the Indigo Spirit: Shibori Works of Richard Fuller Creator An entity primarily responsible for making the resource Richard Fuller Stanley I. Grand Richard Fuller Stanley I. Grand Date A point or period of time associated with an event in the lifecycle of the resource 1999 October 24 - December 15 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource In 1984, while on sabbatical leave from the Art Department at Wilkes College, Richard Fuller went to Japan to learn the art of shibori. There, under the tutelage of a master textile artist and dyer Hiroyuki Shindo, he studied the fundamentals of shibori, which involves resist-dyeing textiles as to create patterns. Type The nature or genre of the resource Exhibition program Subject The topic of the resource shibori Japan Japanese dyeing dye Richard Fuller Wilkes College