EILEEN BRAUN

The process is primarily my own technique, finger knitting fragile factory discard dressmaker’s pattern tissue which I cut into 5 inch strips, knot end to end and then treat as a yarn. The surface is augmented with a locally salvaged non-degradable polypropylene twine formally securing animal feed bales. The twine color designates the type and quality of feed. I process the cords by removing debris, cut them and sort by hue. This sculpture has an ombre of 5 blues. The cords are then individually looped into the knitted surface, secured in place where-upon each strand is shredded . Southern factory mill end fibers in linen hue once used to thread looms also embellish the surface. I have loosely borrowed several knitting, embroidery and basketry techniques in my surface treatment. The sculpture’s stand is a painted  repurposed metal cast-off. The 3D sculpture has an armature of aluminum screen fortified with a cornucopia of materials to keep it securely propped up. 

The process is primarily my own technique, finger knitting fragile factory discard dressmaker’s pattern tissue which I cut into 5 inch strips, knot end to end and then treat as a yarn. The surface is augmented with locally salvaged non-degradable polypropylene twine formally securing  animal feed bales. The twine color designates the type and quality of the feed. I process the cords by removing debris, cut them and sort by hue. This sculpture has an ombre of 5 blues. The cords are then individually looped into the knitted surface, secured in place where-upon the strands are shredded . Southern factory mill end fibers in linen hue once used to thread looms also embellish the surface. I have loosely borrowed several embroidery, basketry and knitting  techniques in my surface treatment.  The sculpture’s stand is a repurposed metal cast-off. The 3D sculpture has an armature of aluminum screen fortified with a cornucopia of materials to keep it securely propped up. 

The process is primarily my own technique, finger knitting fragile factory discard dressmaker’s pattern tissue, which I cut into 5 inch strips, knot end to end and then treat as a yarn. The surface is augmented with locally salvaged non-degradable polypropylene twine formally securing  pine-straw mulch bales.  I process the cords by removing debris, cut them and sort by hue. The cords are then individually looped into the knitted surface, secured in place where-upon the strands are shredded. Southern factory mill end fibers in black once used to thread looms also embellish the surface. The sculpture’s stand is a repurposed metal cast-off treated with paint.