Eleanor Kotlarik Wang, Sunny Side, mixed media, 24 x 24 in.
Eleanor Kotlarik Wang’s newest exhibition, Ribbons of Stretch, has been a long time coming. The upcoming exhibition at Studio Gallery, finally coming to fruition on July 29th since being postponed from May, is derived from multiple cultural influences that are close to Wang’s heart. Wang, a multimedia artist, has pondered this exhibition’s themes for some years now, and started creating the first work for this exhibition two years ago. Each piece from Ribbons of Stretch is inspired by cultural objects from around the world, from the embellished fabric baby carriers Wang brought back from the Yunnan culture in China, to the folk art heirlooms she holds onto from her Slovak culture. Wang intertwines these cultural elements through the exploration of textiles in her works. Each piece contains stitching alongside abstract brushstrokes, experimenting with line through thread as well as paint. The addition of scraps of fabric and buttons adds depth to works like Sunny Side and Filaments.
According to her artist statement, Wang’s artworks encapsulate a spiritual energy that runs throughout the universe. Her strong lines and multimedia elements serve as “rhythmic explorations” into spiritual connection. In this exhibition in particular, Wang is able to establish a connection to past lives, paying homage to domestic objects from various times and places in the world, invoking themes of familial legacy and multicultural connection. Here at Studio Gallery, we are lucky to have access to an in-person interview of Eleanor Kotlarik Wang, conducted earlier in the year by fellow artist Beth Eltinge for their local newsletter. The two were able to connect on their love for textiles and mixed-media art. The interview, which took place in Wang’s Virginia home, provides an incisive look into the inspiration and preparation for Ribbons of Stretch. A transcription of the body of the interview reads as follows:
Beth Eltinge: Some pieces in this show are inspired by elaborate fabric baby carriers you brought from China. How do these baby carriers inspire your art? What connections are you trying to make across cultures and how do you represent that?
Eleanor Kotlarik Wang: The objects themselves are beautiful and intriguing - handmade embroideries to bundle babies born in rural villages. They were made with love for a new-born child in a specific community with a sense of heritage and tradition. That sentiment of caring, nurturing and protecting a young life is, I believe, a universal response. In my work for this series, I combined patterns and textures from different cultures to create composite images that try to embody that sense of human connectivity.
Eleanor Kotlarik Wang, Dawn, mixed media, 24 x 24
Embroidered Yunnan Baby Carrier, inspiration for Wang’s work
Beth Eltinge: How do you prepare for a show such as this?
Eleanor Kotlarik Wang: The theme for an exhibit usually stews in my head for months, and in this case actually years. I gathered my resources, (the objects, in this case the baby carriers) and placed them around in my studio. At some point after “living” with them awhile and getting to know them better, I started journaling, trying to understand what it was about the objects that made me want to respond to them on a canvas. On some canvases, I wrote directly on the blank surface, exploring the possibilities with words before I started to paint with forms and colors.
Eleanor Kotlarik Wang, Ribbons of Stretch, mixed media, 32 x 71
BE: What type of support to you get from other area artists as you try to focus your work?
EW: I regularly meet with a group of fellow artists for both formal and informal critiques of each other’s works. Included is Steve Cushner, a professor of art at George Mason, and formerly with the Corcoran, who we hire for objective reviews. We have been doing this for years and respect each other’s views. In the critiques we discuss our intentions for the works, and see if the marks we are making on the canvas further that goal. Ultimately, it is the artist who decides what works or doesn’t work in a painting.
Eleanor Kotlarik Wang, Filaments, mixed media, 34 x 60 in.
BE: How do you draw from past experiences, including both failures and success, to shape your current work?
EW: Art making is a journey with many ups and downs. After many years of such endeavors, I have developed a more intuitive and confident approach. Still it is in taking some risks in a painting, pushing it in a new direction that wonderful surprises can happen. There is a bit of trial and error in every work.
BE: How do you incorporate collage techniques in your current work?
EW: In the past, I have used paper items such as photos or other drawings or prints collaged on a canvas surface using matte medium. In these works, I am using mostly textiles, embroidery, buttons and other sewing references which further the notion of “made by hand”. I have also hand-stitched in the canvases making a personal connection to the sewing craft of old. Sometimes the collage is strongly integrated with the paint, and other times, it stands out in contrast to the painted surface.
BE: In addition to the work inspired by the baby carriers, what other pieces will be included in the show?
EW: From my Slovak roots, I have many beautiful handcrafted laces and embroideries. Some are vintage pieces of cross-stitch done by family members, others are vestiges of folk costumes. I am enjoying working with these items, as well as objects from other world cultures. The urge to make something new from something old is an exciting creative adventure.
Ribbons of Stretch is on view from Wed, Jul 29, 2020-Sat, Aug 22, 2020 in the upstairs gallery, available by appointment or request. Stop by and immerse yourself in the varied textures and moody colors of Eleanor Kotlarik Wang’s dynamic, meditative works.
By Staff Contributor Thea Hurwitz