How do wispy little things become muscular and important?
The teeny-tiniest fibers are wound into threads and filaments and are woven into all the textiles, vegetables and minerals that support our daily adventures.
And today at Queensborough Community College in Bayside, an enormous supply of skinny-thin bamboo strips are woven and woven into an undulating crest as overwhelming as an ocean wave coasting over the lawn at the QCC Art Gallery.
The piece is artist Wen Fu Yu’s “Wave,” part of the new exhibit “Rewoven: Innovative Fiber Art,” which opened last week.
Its aim is to address the artists’ commitment to nature and environmental and social issues through conceptual art that recycles, reimagines and rediscovers “prosaic materials, reborn greater than the sum of their parts,” as the gallery’s website describes it.
The exhibition includes work by 24 Taiwanese artists and was group-curated by Tseng Fangling, Chien Cheng-yi, Luchia Meihua Lee, Amy Winter and Faustino Quintanilla.
It runs through June 17 at the QCC Gallery.
“Rewoven” is a collaboration between QCC, where it runs through June 17; the Godwin-Ternbach Museum at Queens College in Flushing, where it runs from April 6 through May 26; the Kaohsiung Museum of Fine Arts in Taiwan; and the Taiwanese American Arts Council in New York. It will also be shown at El Muses de los Sures in Brooklyn from June 1 through June 30.
Each museum is showing a different combination of pieces.
“Pollution Solution” by Chin Chih Yang greets visitors at the front entrance as if it’s a luxury scarf of many colors hanging in the gift shop at Dollywood. In fact, it has been woven in a simple under-over pattern out of strips from discarded aluminum cans that once held festive beverages like Budweiser and Sprite.
Artist Steve Balogh used three ballet shoes in a mixed media trio, “Ritual II. Lost Innocence,” “Ritual III. Dont Judge Me” and “Ritual IV. Wisdom of Life,” calling to mind the issues of dancers’ physical sacrifice and health that have dogged the ballet world.
The first shoe is filled with glass shards in position to slice up a foot and the second hosts a stick figure skinny enough to perform an insole Swan Lake. The third, split down the middle with glass shards growing out of its sole, sits on a pickaxe as if it’s the handle.
Two enormous white works dominate the main room. Lulu Meng’s piece at the gallery’s garden exit provokes a kinesthetic experience of “Threshold,” three drapes that each host a cutout of a human form, as if Bugs Bunny had just chased Elmer Fudd clear on through.
Eleng Luluan’s “Between Dreams” is an enormous white foam form resembling a huggy, pillowy monster. From close up, you can see and sometimes hear the piece move as tiny drafts of air lift and release the webs and trains of this complex structure.
The gallery is open Tuesdays, Fridays, Saturdays and Sundays from 10 a.m. until 5 p.m., and on Wednesdays and Thursdays from 10 a.m. until 7 p.m. If you arrive to closed doors, someone from the security office across the walkway can let you in. Admission is free, though donations to support exhibits such as this are accepted.