Before Seattle artists Shaun Kardinal and Erin Frost met one another, art and creation were relatively solitary activities. Now, as romantic partners, they find in one another both artistic confidante and critic, and another with whom to share space and explore overlapping interests in geometry, collage, embroidery, and reuse. In this joint interview, both artists discuss their personal works as well as the collaborations which tie them together, both figuratively and literally.

 

Erin Frost

Alteration No 12 "Alteration No 12 was my very first piece of this nature. It was intimidating and exhilarating to "destroy" something i had made. It's a strong signifier of recent change, play, and exploration. Its balance and pattern are one of my favorites, visually. It wasn't mapped, but sewn free hand, each point leading to the next, and because of that it, it maintains a loose and taught path. It flows yet is contained." - Erin Frost Alterotations "Alterotations was made for a mobile gallery project curated by Sierra Stinson in New York in 2011. For this piece, I started with a more defined pattern (the circle) and plotted growing triangles within. I wanted to play with the radiating visual, to complement the original idea of the piece. At the time, I shot the original photograph (Black Lace), I was really trying to capture the sensation of love/lust/elation where it seems you can feel your heart expand, like it exists outside of you." - Erin Frost

Shaun Kardinal

Connotation no. 8 "This was one of the earlier pieces made for Connotations. It has a few cut-up postcards and features the shaped-collage-behind-thread I had envisioned when first starting the series. While very satisfying when it worked, the technique proved very tricky, since each piece of imagery was first cut and then spray-mounted into place for embroidering. The outwardly radiating points that touch the white paper were placed there in attempt to make the thing look like it was held together solely with thread. It worked here, but I found it distracting in other pieces and eventually left that element behind..." - Shaun Kardinal

 

Connotation no. 15 "This was my favorite of the series which incorporated a single, full-frame image. The design of the three orbs came to me while riding the bus one afternoon, and I was fortunate to have my Moleskine and some pens with me at the time. like most of the work in this series, the image came from a LIFE magazine published in the mid-'50s." - Shaun Kardinal

 

Coinciding with bright spring threads come a fascination with brightly-colored, geometrically-minded embroidered works! In this post, we examine works from artists who painstakingly thread through paper to vastly different ends.

 

Shaun Kardinal

This year, Seattle's Shaun Kardinal has taken a bold leap from minimally embroidered postcards to more involved pieces set upon multi-layered collages. By reconstituting rare pages from 1950s LIFE magazines, Kardinal explains what he calls "a long-time fascination with radial compositions and mandalas" in his Connotations. Expect a joint interview between him and Erin Frost within the month.

 

UK companies may have invented a earplug for you to shine directly into your brain to combat Seasonal Affective Disorder, but in Seattle, an exciting group show (featuring some REDEFINE favorites like Mandy Greer and No Touching Ground) is here to create warm fuzzies and...