Weaving with Light’ the First Solo Exhibition of Textile Artist: Rita Parniczky Winner of the 2016 Perrier-Jouët Arts Salon Prize
Rita Parniczky will present her first solo exhibition: Weaving with Light at Contemporary Applied Arts to celebrate her
award of the 2016 Perrier-Jouët Arts Salon Prize .Launched in January 2013, the concept of the Perrier-Jouët Arts Salon stems from the roots of the Salon in Paris, bringing together like-minded people under the roof to muse on the Arts. However, the Perrier-Jouët Arts Salon has a second purpose, to award an annual prize to nurture and support the career of an emerging maker in Britain
“Rita was a clear winner for the Perrier-Jouët Arts Salon – a great example of how wonderfully crafted, and thoughtful use of a fresh medium can encapsulate a modern expression of Art Nouveau,” said Jo Hooper, Chair of the Arts Salon for 2016
Rita Parniczky was nominated by leading textile artist, Alice Kettle and then selected from a group of 25 nominees as this year’s winner by the Perrier-Jouët Arts Salon members including; Nicole Fahri, Harry Handelsman, Tony Chambers and Stephen Jones.
The prize was created by the Perrier-Jouët champagne house in 2013 in order to support emerging makers from the British craft sector, whose art is a contemporary approach to Art Nouveau and its nature-inspired forms. Perrier-Jouët has a rich history within the arts and is synonymous with Art Nouveau. In 1902, the celebrated art nouveau artist, Émile Gallé was chosen to design the champagne house’s Belle Epoque bottle which is adorned with beautiful Japanese anemones.
Parniczky’s work references skeletal patterns such as those found in the veins of leaves, insect wings, gothic architecture and the human body.
She is known for her intriguing textile creations, each one uniquely hand woven on her Leclerc loom in her London studio. These innovative textiles glow and transform when exposed to natural or artificial light, according to the angle and source of illumination. For her first solo presentation, Parniczky will introduce us to her extraordinary woven textiles that are displayed as hanging screens as well as framed and sculptural works. Pieces from the ‘X-Ray Series’, which she created for her graduate show in 2009 at Central St Martins College, will be shown alongside more
recent creations and the premiere of a new piece.
Curated by Arts Salon Member, Julia Royse, the exhibition will be presented at London’s leading gallery for British Craft,
Contemporary Applied Arts from 24th June – 30th July 2016. CAA was established in 1948 to support and encourage the making of fine crafts in Britain – and to keep them firmly in the public eye. The exhibition will showcase how Rita masters the passage and play of light in her installations of translucent textiles. In exposing the structure of woven material, her stunning work recalls the structures hidden within organic and architectural forms, evoking a contemporary interpretation of the dynamic, curved and flowing lines intrinsic to the Art Nouveau era.
CAA currently represents around 350 designer makers, spanning the entire spectrum of the applied arts. Their Southwark gallery shows a diverse and frequently-changing selection of one-off work, ranging from decorative to functional pieces and including ceramics, glass, furniture, jewellery, metalwork, textiles, wood and paper.
Rita Parniczky’s solo exhibition will run from
24th June to 30th July
Contemporary Applied Arts
89 Southwark Street, London, SE1 0HX
020 7620 0086
The act of making is paramount to everything the CAA does. Their members often use ancient, traditional skills, many of which are in danger of being lost forever. With experience and creative vision, these skills are interpreted by the makers and expressed in their own unique voice and in contemporary idiom. The results are often both stunning and thought-provoking. Like Rita, all of their highly-skilled makers produce work of the highest quality, show originality and have a strong identity and personal voice.
Her methods do not follow the usual weaver’s process as they often begin as sketches or in a photographer’s dark room where Rita experiments with light and shadow, layering shapes and lines through the use of cut-outs. The photograms she creates mimic structural patterns commonly found in X-ray films and directly inspire the construction of her pieces on the loom. These multi-layered processes allow Rita the freedom to spontaneously respond to the patterns and textures forming in front of her on the loom rather than following a pre-planned design which introduces the viewer to a new interpretation of organic structures.
It was during her studies at London’s prestigious Central St Martins College of Art and Design that Rita first became interested in the structure of textiles. She developed her innovative weave technique experimenting with translucent nylon monofilament instead of thread, enabling her to reveal the entire vertical warp threads that are otherwise invisible in most woven textiles. She observes every warp thread as a line and manipulates the way each one runs and forms delicate patterns in her pieces. In the same way that Art Nouveau iron work or architectural mouldings resemble plant forms, the elegant patterns formed by the vertical warp become the decorative focal point of Rita’s work.