Mixed Media Artist Judith Plotner

Illustration: Judith Plotner Adirondack Journal I

Many creative journeys are supremely private; others less so, many are degrees in between. The work of textile and mixed media artist Judith Plotner, although largely falling into the former category, can still be considered purely as an example of the rich world that can be composed from the elements that go to make up a mixed media base.

Illustration: Judith Plotner Slate Valley

Plotner uses the broad spectrum of the creative arts, bringing into her compositions the sensibilities of a fine art painting background, as well as that of printmaking, collage and textiles. The great strength of mixed media is the fact that layering and juxtapositioning can be achieved not only with the raw materials available within the different mediums, but also with that of mediums themselves. It is always fascinating to observe how sometimes a medium can complement another, while at other times the opposite can be both the aim and result. This can cause tension within a composition which can be intentional on one level, but have reactions and unforeseen results, sometimes on more than one level.

Illustration: Judith Plotner Adirondack Journal III

The compositions chosen for this article seem reminiscent of small contained packages as if they were enclosed personal observations of the artist themselves. In some respect that is exactly what they are. These observational diary pages if you will contain information, thoughts and muses, often scattered and seemingly random, though often connected by both the individual and the experience.

There is a sense of confinement that is physically attached to the compositions. The surrounding and inert space of these observational essays can seem to isolate the experience, but in fact it is much more a case of the outside space allowing the artist to pinpoint an experience. This helps to discover and identify the completed observation and in some ways allow the outsider to study at least some elements of the parameters that contain the thoughts and processes of the artist.

Illustration: Judith Plotner Autumnal

Although the outside observer is not privy to the internal creative workings of the artist, whether that be personalised or externalised observations and encounters, they can in some respects be privy to the journey itself. By understanding the practical application of mediums and materials, whether that be through layering, stitching, stamping, dyeing, painting or printing, this functional part of the creative journey can be both observed and admired.

It is said that all creativity is subjective, and in many respects that is true. However, often the practical working journey of materials and processes used by the artist can be objectively followed, sometimes producing profound or at least interesting analogies and discoveries.

These five compositions of Plotner's are finely tuned and specifically composed. They are an interesting example of both the personalised experience of an artist, but also of the sometimes complex procedures that can entail the practical application of a mixed media artist. The compositions are wide ranging in their use of mediums and materials and show the genuine creative scope that can be found within the mixed media world.

Illustration: Judith Plotner Global Warming

Judith Plotner has exhibited extensively across the US. She has her own comprehensive website where many more examples of her work can be found. A link to the site can be found below.

All images were provided with the kind permission of the artist.

Reference links:
Judith Plotner website

Gunnar Wennerberg Tapestry design

Illustration: Gunnar Wennerberg The Willows tapestry design c1913

The Swedish designer Gunnar Wennerberg is probably better known inside and outside his native Sweden, for the innovative glass and ceramic decorative work that he produced during the last few years of the nineteenth century and the start of the twentieth century. However, Wennerberg also produced a certain amount of textile work, particularly but not exclusively for the Handarbetets Vanner and the Licium.

Wennerberg produced a number of tapestries during the first decade of the twentieth century and those shown in this article give some indication at least as to the style and compositional qualities that were very much associated with him at the time.

Wennerberg is often seen and categorised as an Art Nouveau designer, particularly as regards his use of foliage and flora for decorative means. However, his style bore little resemblance to the excesses of French and Belgian Art Nouveau and some would see it as somewhat typical of the Swedish love for nature based themes. This is born out distinctively with The Willow tapestry, which although having certain aspects in common with Art Nouveau, tends towards a much sparser and tranquil examination of nature than would be expected within the general Art Nouveau movement. This was one of Wennerberg's particular traits and it can be seen within the other compositions also shown here.

Illustration: Gunnar Wennerberg tapestry design c1905

It is interesting to note that it could be said that Wennerberg's extensive work within the glass and ceramics industries, was somewhat reflected within his later textile work. The imagery and compositional balance are interestingly similar in style with what would be expected both within stained glass work and also that of ceramics. The use of light, particularly within The Willows, is almost similar to a ceramic glaze, and perhaps this was not purely coincidental but could be seen as that of a conscious or unconscious bleeding through of ideas and strategies from another medium altogether.

The greatest boon to cross discipline designers and artists is when the tools and vocabulary of one discipline are used either for the same purpose or for that of a completely different aspect within another discipline. It is this cross-fertilization that has given us many purposeful creative constructs and indeed a number of happy accidents as well.

Wennerberg, although not strictly a textile designer or artist, should be included within the framework of Sweden's prestigious textile crafts, particularly that of tapestry design of which Wennerberg produced some excellent examples that were neither derivatave of the rest of contemporary Europe, or indeed that of Swedish traditional crafts. His work is an excellent example of the individuality that can be achieved by both artist and designer when considering the importance of the uniqueness of an individual's creative journey, rather than that of fashion, fad and styling.

Illustration: Gunnar Wennerberg tapestry design c1909

Incidentally Gunnar Wennerberg should not be confused with the other Gunnar Wennerberg, who was the Swedish poet and composer who died in 1901, Wennerberg the designer died in 1914.

Reference links:
Scandinavian Design (Taschen 25)
RORSTRAND: SWEDISH ART NOUVEAU PORCELAIN, FROM THE ROBERT SCHREIBER COLLECTION
Rorstrand Porcelain: Art Nouveau Masterpieces
Vavda tapeter (Swedish Edition)
SWEDISH TEXTILE ART: Traditional Marriage Weavings from Scania (The Nasser D. Khalili Collection of Swedish Textile Art)