Though its origins are somewhat disputed, a popular maxim holds that “writing about music is like dancing about architecture” — which is a sideswipe at music criticism, specifically, but might also be more broadly interpreted to mean that certain expressive media cannot be effectively used to convey a sense of others. In this spirit, it might be argued that it is very difficult to knit about dance, but fiber artist Katie Shulman would likely disagree.

“I have a structured process, and I like to use materials like elastic bra strapping that behaves with its own will,” Shulman told Hyperallergic during a studio visit, “and because I am making such specific decisions, there’s an intermediary period that is pretty intuitive. I’m pushing and pulling and making connections based on weight and tension.”

Shulman’s constructions are quite bodily, and vary in size, shape, and materiality, but they tend to be comprised of three basic components: handmade or sourced rope or strapping that is knitted on or off-loom, found metal armatures that provide stability, and interjected objects (often made of wood, but sometimes softer). Shulman dyes her fibers into visceral magentas and pinks, so her studio is festooned with hanging objects that evoke, among other things, a butcher shop full of unidentifiable cuts of meat, or a meat locker of anonymized bodies with their own evasive logic.

Η συνέχεια εδώ.