The visual storytelling of Stewart Easton. Works in thread, ink, paint and digital.
a meditation upon utopia
'a meditation upon utopia' is an interactive embroidery combining form, touch, colour and sound. With a modular analog synth soundtrack playing on a continuous loop the viewer is invited to interact with the work by touching the hand stitched elements. Through these interactions the viewer can create a harmonic convergence of form, colour, interaction and sound.
‘a meditation upon utopia’ challenges the current world climate by bringing into focus the harmony which is inherent when two or more forms align.
Interaction - a harmony inherent when two or more forms align.
environment - the influencing compound which ties together and mirrors all others.
creativity - a recording of the marriage between the inner and outer worlds.
celebration - expression of gratitude for experience past, present and those to come.
healing - acceptance and a relaxation of the grip and need to be in control.
The Glass Bead Game
The Glass Bead Game
Oct - November. 2017
The Glass Bead Game is Easton's exploration into the fictional Castalian order of mind, spirit and the artistic life created by Herman Hesse in the novel 'The Glass Bead Game'.
Drawing upon the major elements and characters from Hesse's great work Easton has fused together and created a depiction of a fantastical world of spirit and art.
Using a contemplative approach in the creation of each of the works he has allowed a space to develop within the journey of their creation. This space gives the viewer a glimpse into the artistic life and the possibilities available to us when we not only look at a work, but meditate upon it.
Castalia is an 'artcar' - painted as part of the Cartists exhibition at Coventry Transport Museum in conjunction with the Herbert Art Gallery and Museum. The title of the work references The Glass Bead Game by Herman Hesse. Within the book Castalia is the fictional town where students and the greatest minds of the day study and play the glass bead game. Using phrases from music, language and the arts the student of the Glass Bead Game explore and pull apart the patterns with the works expanding the spaces between.
The use of a Caravan draws upon Ken Kesey and the Merry Pranksters trip across the USA leading the Acid Test. A chemical expansion of the mind aiming to achieve the very same goals of the Glass Bead Game.
The abstract forms spray painted upon the vehicle were painted in the form of a game. Each shape is situated in an off kilter fashion, never allowing a form to be expected and obvious. Lines and forms are to be placed in a harmonious manner, yet singularly these forms should not sit well with one and other. But, when the forms are placed as a 'community' of shapes a sense of harmony is achieved.
Offset Weaving is a six month artist residency run in conjunction with "Office for Art, Design and Technology". Office for Art, Design and Technology is a nomadic, networked and collaborative artist-led project founded by Ryan Hughes ( art-design-tech.org ) As part of the residency Easton was given a floor standing tapestry/rug loom. The loom was to be used as a traditional analog tool to make new work. To master the art of weaving Easton made a number of decisions including to not use technology or online tutorials to learn the workings and process of hand weaving. Drawing with the floor standing hand loom has enabled Easton to relearn the art of drawing and create works which hold a true representation of the free flowing drawings of childhood
He longed for weightlessness
He longed for weightlessness.
Emulsion on tiled wood. Outline Editions, London 2016
He longed for weightlessness is a project bringing together Easton's previous narrative based works and removing all forms of story. Taking the notion of a ‘path' Easton has removed the storyline of a narrative by breaking up a journey and reassembling it as simple plot lines of colour. This allows the audience to view the work on a pure primal level, experiencing a base emotion without the transference of ones own past relative experiences. Enabling the audience to connect with one and other in a shared space.
His piety knows no bounds
'His Piety knows no bounds'
250cm x 200cm.
Working in collaboration with composer Michael Tanner, sound artist Gawain Hewitt and the 'Quirky Quilters' Easton has created his first interactive quilt.
Using four major life events of St Nicholas as the starting point for this work Easton has created a large scale quilt embedded with a narrative specific composition by Michael Tanner. The audience is invited to created a dialogue with the piece by gently interacting with the hand embroidered centre piece.
His piety knows no bounds was made for the contemporary craft residency and commissions for 'The Priory', in Stoke Sub Hamdon, Somerset. Curated by Craftspace and Initiated by Somerset Art Works in partnership with the National Trust
The large tithe barn within The Priory complex, a rare and unique group of medieval domestic and agricultural buildings, is the focus of this contemporary craft project. The title ‘Gather-ing’ references the function of a barn as a space to collect/bring/gather people, animals and crops, as well as a symbolic meeting place to gather for ritual celebration.
Breaking the traditional boundaries of craft, Stewart Easton’s 'The Next Verse' fuses together hand embroidery, sonic art and music.
Collaborating with sound artist Gawain Hewitt and musician Michael Tanner (Plinth, United Bible Studies) Easton’s stitch work forms a meter square interactive embroidery that follows the life cycle of a fictional family.
The major plot lines of ‘A Winter’s Movement’ are hand stitched by Easton using conductive thread and a soundtrack composed by Tanner is triggered by touch, each person creating their unique soundscape.
A burden of bones
A burden of bones
digital print on fabric,
300cm x 22cm. 2010
A burden of bones is a narrative tracing the final journey of an elderly lady trailing her last five days. On the eve of her 143rd birthday, Hetty Brown has a premonition that she has five days left to live. After careful meditation on this news Hetty decides to exhume her husbands bones and travels to the tree where 120 years before she accepted his proposal of marriage.
A burden of bones is one of four large scale embroidered pieces made as part of Easton's four tragic tales which was shown at mac, Birmingham, UK, and St Mary's art and retreat centre, Nervada, USA.