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<channel>
	<title>Carole Kunstadt</title>
	<link>https://carolekunstadt.com</link>
	<description>Carole Kunstadt</description>
	<pubDate>Fri, 24 May 2024 21:36:41 +0000</pubDate>
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		<title>Carole P. Kunstadt</title>
				
		<link>https://carolekunstadt.com/Carole-P-Kunstadt</link>

		<pubDate>Thu, 19 Mar 2020 19:36:10 +0000</pubDate>

		<dc:creator>Carole Kunstadt</dc:creator>

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		<title>Wanderlust &#38; GAIA</title>
				
		<link>https://carolekunstadt.com/Wanderlust-GAIA</link>

		<pubDate>Fri, 24 May 2024 21:36:41 +0000</pubDate>

		<dc:creator>Carole Kunstadt</dc:creator>

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Wanderlust, GAIA &#38;amp; Wanderer Series

	
	
	
	
	
	



In
geography books from the 1800's the observations of the world
provides a record of our long held fascination and curiosity for the
lands beyond. That drive to search for understanding continues to
capture our imaginations and propel our explorations further.




 Maps from geography books published in 1860’s - 1880’s are cut and
recombined. Combining the maps with antique wooden shoe forms, map
pins and thread, suggests a journey charted, imagined, or remembered.
A unique perspective of mapping the world is depicted utilizing the
antique materials in sharp contrast to our present day issues and
conflicts, affecting untold populations around the world. 


The
carefully charted topographies, geographies, boundaries and
coordinates are ultimately transformed, inviting new explorations.
Layering the paper, responding to the antique cartographic renderings
and the contours of the shoe forms, playfully suggests new
narratives.

	
	
	
	
	
	



The
environmental impacts of climate change which are currently under
scrutiny and investigation, and impacting us globally, can be traced
to previous generations' interest in the study of the atmosphere, and
wind and water currents charted in the maps of physical geography
books in the 1800's. 









	
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	<item>
		<title>Heavenly</title>
				
		<link>https://carolekunstadt.com/Heavenly</link>

		<pubDate>Tue, 07 May 2024 21:56:23 +0000</pubDate>

		<dc:creator>Carole Kunstadt</dc:creator>

		<guid isPermaLink="true">https://carolekunstadt.com/Heavenly</guid>

		<description>
	
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&#60;img width="2734" height="2664" width_o="2734" height_o="2664" data-src="https://freight.cargo.site/t/original/i/4be5c9f7df76a1b0b9fe83d1d7a3448e859ac7543a9ba2bc93717950222d3687/Heavenly-XIX--thread--paper---bookplates-Guy-s-System-of-Astronomy--1851--10-x-10-in-2025-.jpg" data-mid="241861471" border="0"  src="https://freight.cargo.site/w/1000/i/4be5c9f7df76a1b0b9fe83d1d7a3448e859ac7543a9ba2bc93717950222d3687/Heavenly-XIX--thread--paper---bookplates-Guy-s-System-of-Astronomy--1851--10-x-10-in-2025-.jpg" /&#62;

	






Heavenly&#38;nbsp;

	
	
	
	
	
	






	

In
the Heavenly Series, bookplate illustrations from Guy's Elements of
Astronomy, published 1845-1865, as well as First Book in Astronomy, published
in 1844, are cut and recombined. Weaving the paper intuitively,
responding to the existing illustrations' linear and graphic
patterning, allows for a new symbolism to form. The planets, orbital
arcs and their phases are divorced from their intended scientific
charting and when re-assembled present a new universe of lines,
spheres and angles. Threads are sewn into the woven surface of
fragmented images creating a dense iconography, resulting in an
alternative patterning. A unique perspective of the mapping of the
skies is depicted utilizing the antique materials.

In the astronomy books from the 1800's the observations of the universe provide a record of our fascination and
curiosity for the mysterious cosmos beyond. That quest for
understanding continues to capture our imaginations and propels us
further.
	
	
	





	
 




</description>
		
	</item>
		
		
	<item>
		<title>Ovum</title>
				
		<link>https://carolekunstadt.com/Ovum</link>

		<pubDate>Mon, 23 Mar 2020 20:33:59 +0000</pubDate>

		<dc:creator>Carole Kunstadt</dc:creator>

		<guid isPermaLink="true">https://carolekunstadt.com/Ovum</guid>

		<description>
	

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&#60;img width="3324" height="2818" width_o="3324" height_o="2818" data-src="https://freight.cargo.site/t/original/i/e08b730e84b5717c8535cbd0b40fcc598cc9ce48d07c95d4a26c68db7ba10b9b/detail--OVUM-XXX--antique-wooden-cage--wooden-egg--paper--Margaret-fuller--1855--3.25-x-4-x-3.25-in---.jpg" data-mid="229040127" border="0"  src="https://freight.cargo.site/w/1000/i/e08b730e84b5717c8535cbd0b40fcc598cc9ce48d07c95d4a26c68db7ba10b9b/detail--OVUM-XXX--antique-wooden-cage--wooden-egg--paper--Margaret-fuller--1855--3.25-x-4-x-3.25-in---.jpg" /&#62;


	
Ovum – Homage to Margaret Fuller 
Ovum Series takes physical, material, and intellectual inspiration from Margaret Fuller Ossoli's Woman In The Nineteenth Century, and Kindred Papers Relating to the Sphere, Condition and Duties, of Woman. Boston, 1855, Introduction by Horace Greeley, Edited by her brother Arthur F. Fuller. 
Sarah Margaret Fuller Ossoli (1810 – 1850) was an educator, social reformer, transcendentalist, critic, abolitionist, the first American female foreign correspondent and woman's rights advocate. One of her most significant works Woman in the Nineteenth Century is considered the first major feminist work in the United States, first published in 1845.
An advocate for woman's education and the right to employment, Fuller argued that “we would have every path laid open to Woman as freely as to Man.” She challenged existing ideas and explored the essence of gender in her writings of the 1840's, giving birth to the idea of empowerment of women, a “fullness of being” for both men and women and ultimately feminist ideals. It has become one of the major documents in American feminism.</description>
		
	</item>
		
		
	<item>
		<title>Pressing On</title>
				
		<link>https://carolekunstadt.com/Pressing-On</link>

		<pubDate>Mon, 23 Mar 2020 20:37:24 +0000</pubDate>

		<dc:creator>Carole Kunstadt</dc:creator>

		<guid isPermaLink="true">https://carolekunstadt.com/Pressing-On</guid>

		<description>
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Pressing On – Homage to Hannah More 

Pressing On takes physical, material, and intellectual inspiration from Hannah More's An Estimate of the Religion of the Fashionable World: By One of the Laity, London, 1791. Published anonymously, it was one of the most widely read books of the day.

Pages of Hannah More's writings are cut, scorched, woven and layered with textiles, thread, lace, sandpaper and fur. Antique “sad” (solid) irons convey the stories, presented singly or installed as multiples, evoking the tactile, experiential memory of a domestic labor force. The sad irons represent the erstwhile servitude of those pressing, the 'herstories' of those laboring under the demands for pressed garments and linens, to suit class distinctions and societal expectations. Garments carefully and repetitively manipulated, aided by the parallel tasks of mending and sewing were ultimately to be transformed by the applied and consistent heat and pressure.

Hannah More (1745 – 1833) was an abolitionist, poet, social reformer, philanthropist, feminist, writer and a member of the intellectual group “Bluestockings” along with Samuel Johnson. She has been referred to as the “First Victorian”, bridging the 18th and 19th centuries. Her writings and benevolence strongly influenced the public mind and social character of her day. Strictures on the Modern System of Female Education, 1799, contained many pro-feminist overtones. More's life-long overriding cause was galvanizing women to act not as domestic ornaments, but as thinking, engaged and responsible beings. She devoted herself to educating and helping the poor, establishing over sixteen charitable schools in the U. K. 

Hannah helped give the abolition movement a public voice with her writings. Publishing and collaborating with William Wilberforce, an outspoken member of Parliament, she remained active in the anti-slavery movement her entire life. Her poem Slavery published in 1788 coincided with the first parliamentary debate on slave trade. More wrote The Sorrows of Yamba (or The Negro Woman's Lamentation) in 1795. Dying in September of 1833, she lived just long enough to see slavery abolished in the British Empire. More's fierce convictions were moral, social and political. Writing was an influential tool which she masterfully utilized throughout her life.


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"Her juxtaposition of materials, for her PRESSING ON Series, combines artifact, word, and fabric. The hardness of iron, the graciousness of lace, and the wisdom of words combines as a testament to women's tenacious movement forward. PRESSING ON honors abolitionist/feminist Hannah More and integrates history, memory, domesticity and celebrates women's political and public voice." 

Mara Mills, Deputy Director, Hudson Valley Museum of Contemporary Art

	

	
</description>
		
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	<item>
		<title>Sacred Poems</title>
				
		<link>https://carolekunstadt.com/Sacred-Poems</link>

		<pubDate>Mon, 23 Mar 2020 20:41:51 +0000</pubDate>

		<dc:creator>Carole Kunstadt</dc:creator>

		<guid isPermaLink="true">https://carolekunstadt.com/Sacred-Poems</guid>

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Sacred Poems

"Carole has taken an 1844 Psalm book used in the churches for religious purposes, sliced it into a series of thin strips which are then rejoined, reconnected on her sewing machine. As she sews the pieces back together however, they've been interleaved with extremely fine tissue or leaves of gold to create these beautiful organic shapes in which the words no longer are the reason for the psalm book. It becomes a celebration of life and beauty that’s contained within them. Carole’s work is very understated, it’s very subtle and I think it bears close examination. It is one of the works that I think talks to the component aspects of paper. It is not about drama, it is about the quiet mood that these materials can also inspire."
David Revere McFadden, Chief CuratorMuseum of Arts &#38;amp; Design, NY. NY.
Slash: Paper Under the Knife


 


A book is not only the way in which text is presented but is is a container. An irreplaceable aspect of the book is that books absorb histories. Paradoxically the limitations of the form/codex presents us with important converstaions, intimiacies and possibilities for expansive experiences.


The primary element used in this series is paper: the pages are taken from a Parish Psalmody dated 1844 and 1849. These pages of psalms are manipulated and recombined, resulting in a presentation that evokes an ecumenical offering – poems of praise and gratitude. The disintegrating pages suggest the temporal quality of our lives and the vulnerability of memory and history. Utilizing both a reductive and additive process, embracing its inherent qualities while transforming the book’s pages, the paper itself gains significance through the process and merges with a new intent. 


Visually there is a consistent and measured cadence to a page of psalms which is echoed in the&#38;nbsp; repetitive weaving or restructuring of the paper: pages are cut in strips and woven creating an altered dense surface; multiple pages are stitched together and the shredded edges form new textural references; the layering of translucent tissue over the paper softens the effect of age and context, evoking the ephemeral while adding a veil of alternative possibilities. Although fragile the paper is surprisingly resilient. In a number of the pieces the use of stitching emphasizes the repetition of the lines of text. The lines of stitching are suggestive of the passage of time, alluding to the age and the history of these pages. The continuing repetitive action of sewing, knotting and weaving is similar to reciting, singing, and reading: implying that through the repetition of a task or ritual one has the possibility to transcend the mundane. The use of gold leaf elevates and heightens the rich textural qualities presenting a sumptuous visual experience. The interplay alludes to the enticing presentation of illuminated texts historically. Explored and displayed in this visual context, the alteration of the papers’ linear, tactile, and facile nature emphasizes transformation, while the possibility of revelation is playfully realized.


The intended use, as well as the nature of a psalm as spiritual repository, both imply a tradition of careful devotion and pious reverence. The physical text evocatively and powerfully serves as a gateway to an experience of the sacred and the realization of the latent power of the written word. This process of interaction is played out visually in the piece, mimicking the internal experience. Thus, through the individual evolution of each page, culminating in a transformation of the whole volume, the material and the conceptual interface delicately and suggestively with one another.


The Sacred Poem Series takes physical, material, and intellectual inspiration from Parish Psalmody. A Collection of Psalms and Hymns for Public Worship, published in 1844 and 1849.




	
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	<item>
		<title>Old Testament</title>
				
		<link>https://carolekunstadt.com/Old-Testament</link>

		<pubDate>Mon, 23 Mar 2020 20:42:42 +0000</pubDate>

		<dc:creator>Carole Kunstadt</dc:creator>

		<guid isPermaLink="true">https://carolekunstadt.com/Old-Testament</guid>

		<description>
	
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	Old Testament&#38;nbsp;

Perhaps the most widely known book worldwide is the Bible. Especially in the West where it was the first mass-printed book, its influence in history and literature has been major. Despite our basic familiarity and the positive or negative response one may have had to it or to aspects of it, this work utilizing and transforming the Bible and the Psalms alters one’s previous experience of these classic texts. Reinventing the books, completely free of theological or political filters, I am not only exploring their physical integrity but also creating new hybrid forms which reflect memory, history and sanctity.


The Old Testament Series takes its material, intellectual, and spiritual inspiration from my paternal grandfather's The Old Testament, Part I &#38;amp; II, James Tissot, M. Brunhoff &#38;amp; Co., 1904.

Each of the Five Books of Moses has been cut down, stacked, and bound with strips of gampi tissue as individual repositories. The resulting simplicity of the singular blocks of paper and the tenuous quality of their containment contrasts sharply with the complexity of the stories recorded. The text and illustrations remain hidden with no access to the actual contents of the book. Yet the simple physical presence of these varying shapes evocative of Jung's sacred geometry, emphasizes their literal, historical, and spiritual impact. The imprint on our consciousness, not the actual details of the stories is therefore emphasized. The now blunt cut edges of the sliced and recombined chapters often retain their gilt edging and fragments of decorative embellishments - a hint of the volume’s previously treasured and favored status.

As a collective grouping, the five differing shapes offer a progression and a presentation wherein they are interrelated yet are also self-contained. The interplay of depth, volume, surface, and structure engage and intrigue while being non-specific. They stand as an inculcation of their transformation 

and a tribute to the sacred bond of friendship and community.&#38;nbsp; Gold-leafed strips are woven forming a fairly dense interlaced grid containing pages of Kings - evoking power, wealth and control. Knotted threads extend from the intersections, implying a continuation of influence.The Prophets’ surface is embellished and bound with 22 karat gold leaf , symbolically suggesting the contents which are believed to be a manifestation of God. These inspirational stories are contained in the underlying solid block of paper boldly formed yet tentatively restrained by strips of gold leaf and gampi tissue, presenting a compelling compilation. The resulting visual simplicity purposefully contrasts with the complexity of its contents.Triangular in shape, Psalms is capped at its ends by gold leaf, most precious of metals. Like a sacred mountain the triangle is associated with the ability to envision new possibilities and in this context represents the inspirational lines of text such as "and lead me in the way everlasting."The Book of Esther is bound together by interweaving strips of translucent gampi tissue. Linen thread reinforces the layers of tissue. Knots adorned with pearls, accented by the loose strands of the threads, build the textural surfaces. The simple embellishment alludes to Queen Esther's position, influence and impact. The pearls number eighteen - the numerical equivalent of life/chai.

 The Covenant similarly is a composite of six equally-sized cut stacks of the book’s pages which are individually bound by gampi tissue, tied and knotted together with the linen binding thread from the original volume. The resulting shape has a solid yet fragile presence. The contrast implied by the consummate block of paper delicately restrained parallels and symbolizes the agreement of being bound by a solemn compact.

 "....each object in her Old Testament Series provides a means for various kinds of contemplation. The series is literally composed of cut down, bound, and stacked parts of her paternal grandfather's nineteenth century Bible. Its calming presence provides a transformative sacred space, an "immersive experience" according to Kunstadt, for spiritual uplift and meditation about one's own family as well as the contents of the books that make up the Hebrew Bible. Aesthetic values dominate textual ones through the interplay of depth, volume, surface textures, and structure with the complex stories hidden within. At the same time, the objects are both interrelated and stand alone."
–Adrianne Rubin, As Subject and Object: Contemporary Book Artists Explore Sacred Hebrew Texts, MoBIA, New York, NY

	
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	<item>
		<title>Markings</title>
				
		<link>https://carolekunstadt.com/Markings</link>

		<pubDate>Mon, 23 Mar 2020 20:44:09 +0000</pubDate>

		<dc:creator>Carole Kunstadt</dc:creator>

		<guid isPermaLink="true">https://carolekunstadt.com/Markings</guid>

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	Markings

Fragmented lines of script from a New England journal dated 1858 -1863 provide flowing, curvilinear marks on paper - fluid human strokes, sepia tones and an implied history. While suggestive of anecdotes and insights these selected strips of paper visually weave in and out of the painted surface. Through the use of collage, letters and words form intriguing records of the past that we cannot decipher. 

These purposeful marks are transformed into a new visual language when edited and juxtaposed with color fields of gouache. The linear repetition suggests a continued process leading us to another level of understanding and perception. Repetitive lines of stitching sewn into the handmade paper reinforce the newly established merger of these elements and reminds us of the persistence of time. Past and present meet in an intimate and delicate manner. 

As this series progressed, the mark-making emerged as the primary focus. They evolved into eloquent, playful, layered graphite marks which dance across the surface as a fluid energetic record of the present moment. The transient and illusory is metaphorically suggested by the use of&#38;nbsp; drafting film as the drawing surface, replacing the paper used earlier in this series. 

	
	
	
	
	
	



A
second layer of drafting film creates a shadow effect to the linear story.
The horizontal linear repetition is grounding to the bursts of
movement. The horizons suggest a continued process leading us to
another level of perception while reminding us of the persistence of
time. Selected color partners with the graphite repeating and
emphasizing the gestures and choreography.




"Flowing, curvilinear marks are interrupted by horizontal stitching recalling the scribe's horizontal guidelines that support the bi-linear text. The fluid, handmade strokes, soft sepia tones, and the personal history of the journal speak of hope, but also suggest anecdotes and insights - fragmented records of an indecipherable, but intriguing past. The faint image nestled in the background exemplifies the palimpsest effects."–Kathrine Page, Scribes of Hope II, traveling exhibition, Christians in the Visual Arts

	
</description>
		
	</item>
		
		
	<item>
		<title>Postcards</title>
				
		<link>https://carolekunstadt.com/Postcards</link>

		<pubDate>Mon, 23 Mar 2020 20:44:38 +0000</pubDate>

		<dc:creator>Carole Kunstadt</dc:creator>

		<guid isPermaLink="true">https://carolekunstadt.com/Postcards</guid>

		<description>
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Postcards





Due to industrialization, improved transportation, an increase in leisure time as well as the wanderlust generated by landscape painting and photography, the 1900's witnessed an expansion in the fascination and the exploration of the environment.


Prior to email, texting, Instagram and Twitter, the postcard was an economical and relatively immediate means of connecting and communicating, sending a few lines of text with a relevant and compelling visual image. Trysts, picnics, walks, hikes, swimming, camping and boating excursions fueled the sentiment "wish you were here". The innate impulse to share one's experience found expression in the iconic photo-postcards of the 1900's, the Golden Age of the printed postcard. For the cost of one cent, notification of a delay in plans, sharing an inspirational view or a destination safely reached could easily and quickly be communicated.


Altering the iconic images by weaving multiple views together, the pixelated scenes become intriguing alternate visions of a reality suspended from their original context.The aged quality of the photograph informs and enhances the varied combinations creating simultaneous vantage points. They playfully represent the merging of a vision of history, the moments caught and the subjective impressions which through the passage of time have been transformed. 


Photo-postcards from the early 1900's provide an intriguing, subtle and intimate format to explore worlds unlimited in association, memory and history.






	

	
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Views of the Moselle/Ansichten der Mosel

Die Mosel* - a booklet of representative photogravure images dated 1917, inspired this portfolio of ten altered and recombined antique photo postcards. The charming towns, castles, and scenic views captured along the river valley are an eloquent testimony to the atmosphere of the area in the early twentieth century.

More than 60 years later I had the opportunity to live in Southern Germany for a few years and extensively tour the countryside. The scenic strolls, day trips and constant explorations provided rich varied experiences which led to a deep understanding of the cultural complexities. Observation is a personal modification of the visual information one receives. The dense quality of the photogravure enhances the varied combinations creating simultaneous vantage points. They represent the merging of a vision of history, the touring experience and the subjective impressions which through the passage of time have been transformed, now over forty years since my first encounter with this countryside.

*A tributary of the Rhone running through Germany, France and Luxembourg

"Through cutting and reassembling ten antique postcards to form new scenes, Kunstadt recontextualizes the complex history and culture of the area in an attempt to better understand her sojourn there." 
Alexander Campos, Tell Me How You REALLY FEEL: diaristic tendencies, Center For Book Arts, New York, NY.



	

	
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Valle de la Meuse/Valley of the Meuse* - An Environmental Paradigm

Valle de Meuse* - a booklet of representative images from the early 1900's, inspired this folio of five altered and recombined antique photo postcards. The boat landings, charming castles and scenic views captured along the river valley are an eloquent testimony to the appealing atmosphere of the region early in the twentieth century.

The river valley of idyllic views captured for its touring potential was eventually environmentally challenged. Its lower Belgian portion was the first fully industrialized area in continental Europe. The air became so polluted that in 1930 several thousands became ill and within a few days sixty perished from excessive fluorine gas from the factories. 

An international agreement was signed in Belgium in 2002 about management of the river by France, Germany, Luxembourg, the Netherlands, and Belgium. Thus an International Commission on the Meuse has the responsibility for implementation of the treaty. 

*The Meuse is one of the five oldest rivers in the world. The Meuse is a major European river, rising in France and flowing through Belgium and the Netherlands before draining into the North Sea. From 1301 the upper Meuse roughly marked the western border of the Holy Roman Empire. The first landscape painted in the Middle Ages was a landscape of the Meuse. 

	
</description>
		
	</item>
		
		
	<item>
		<title>Woven Paper</title>
				
		<link>https://carolekunstadt.com/Woven-Paper</link>

		<pubDate>Mon, 23 Mar 2020 20:45:28 +0000</pubDate>

		<dc:creator>Carole Kunstadt</dc:creator>

		<guid isPermaLink="true">https://carolekunstadt.com/Woven-Paper</guid>

		<description>


	
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&#60;img width="2111" height="2111" width_o="2111" height_o="2111" data-src="https://freight.cargo.site/t/original/i/d10557ac82e29ff509398c3d8e15f317207914ff94d3ac4f0f3c6a4ceeb86a19/OVUM-IX-Breakthrough.jpg" data-mid="65238662" border="0"  src="https://freight.cargo.site/w/1000/i/d10557ac82e29ff509398c3d8e15f317207914ff94d3ac4f0f3c6a4ceeb86a19/OVUM-IX-Breakthrough.jpg" /&#62;
&#60;img width="2328" height="2341" width_o="2328" height_o="2341" data-src="https://freight.cargo.site/t/original/i/0d4bdd98692ee76f79b5bdb76ac8332fd733f6c61984fbcf7cf4c7381b0d73db/OVUM-XXI-.jpg" data-mid="246951021" border="0"  src="https://freight.cargo.site/w/1000/i/0d4bdd98692ee76f79b5bdb76ac8332fd733f6c61984fbcf7cf4c7381b0d73db/OVUM-XXI-.jpg" /&#62;
&#60;img width="2278" height="2150" width_o="2278" height_o="2150" data-src="https://freight.cargo.site/t/original/i/a98ad96afb712bdd71209c8474e792d1e3d66bf4595b61350d95e0f781e80fd6/Kunstadt--OVUM-XVII-BreakThrough--silk-thread--paper-hand-colored-wood-engravings-1855--8.75-x-9.5in--1200.jpg" data-mid="246951079" border="0"  src="https://freight.cargo.site/w/1000/i/a98ad96afb712bdd71209c8474e792d1e3d66bf4595b61350d95e0f781e80fd6/Kunstadt--OVUM-XVII-BreakThrough--silk-thread--paper-hand-colored-wood-engravings-1855--8.75-x-9.5in--1200.jpg" /&#62;
&#60;img width="3181" height="2346" width_o="3181" height_o="2346" data-src="https://freight.cargo.site/t/original/i/59c7a9d925ea5084c4dca117076b5d5c573befd6a3685e88726a6ea02e59be27/OVUM-XIII-BreakThrough-detail.jpg" data-mid="246951029" border="0"  src="https://freight.cargo.site/w/1000/i/59c7a9d925ea5084c4dca117076b5d5c573befd6a3685e88726a6ea02e59be27/OVUM-XIII-BreakThrough-detail.jpg" /&#62;

	


	
OVUM/BreakThrough 
I have cut and recombined 19th C. naturalist bookplate illustrations of bird eggs. Adding silk thread as a linear and textural element contributes to the resulting abstracted patterning, referencing not only quilt making but also needlework samplers. Eggs are a metaphor for gestation, abundance, promise, rebirth and hope as well as symbolic of vulnerability and perseverance. 

	
	
	
	



The
OVUM/BreakThrough Series is inspired by the women artists and scientific illustrators in the 19th
C. contributing to the success of ornithological engravings and
editions despite remaining unidentified or credited. 




“Anciently motherhood was represented by a sphere or circle. The circle, like the mundane egg, which is but an elongated circle, contains everything in itself and is the true microcosm. It is eternity, it is feminine, the creative force, representing spirit.”
-Matilda Joslyn Gage, Woman, Church and State, 1893



	

	
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&#60;img width="2020" height="2887" width_o="2020" height_o="2887" data-src="https://freight.cargo.site/t/original/i/0e84c713f8995b11f39d5c58fb4b5aa17d1bf38a03191767e27e52adee36fc07/INTERLUDE-No.-3-detail-3-Copy.jpg" data-mid="65616149" border="0"  src="https://freight.cargo.site/w/1000/i/0e84c713f8995b11f39d5c58fb4b5aa17d1bf38a03191767e27e52adee36fc07/INTERLUDE-No.-3-detail-3-Copy.jpg" /&#62;
&#60;img width="1920" height="1897" width_o="1920" height_o="1897" data-src="https://freight.cargo.site/t/original/i/71085e9d5dbcd7b45e125735ab54ceffa26773aca924a123494f5595e692d83a/Kunstadt_Carole_1.jpg" data-mid="210445233" border="0"  src="https://freight.cargo.site/w/1000/i/71085e9d5dbcd7b45e125735ab54ceffa26773aca924a123494f5595e692d83a/Kunstadt_Carole_1.jpg" /&#62;
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&#60;img width="2770" height="3387" width_o="2770" height_o="3387" data-src="https://freight.cargo.site/t/original/i/2cfaefbc68c0232c060e0fac4aeef66bbcbcb735d5bdef53df157202cf093019/Kunstadt_Interlude-No.-20_detail.jpg" data-mid="210445941" border="0"  src="https://freight.cargo.site/w/1000/i/2cfaefbc68c0232c060e0fac4aeef66bbcbcb735d5bdef53df157202cf093019/Kunstadt_Interlude-No.-20_detail.jpg" /&#62;
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&#60;img width="3691" height="1835" width_o="3691" height_o="1835" data-src="https://freight.cargo.site/t/original/i/6acd853f14b3511f8a62d4abb8f02e71c43540cc74ecfd6c3c5e0c76d6e17329/Kunstadt--Interlude-No.-35--thread---paper-19th-C.-music-manuscript---Dantier-Paris--9.5-x-19.75-in--2022--1800-.jpg" data-mid="210444700" border="0"  src="https://freight.cargo.site/w/1000/i/6acd853f14b3511f8a62d4abb8f02e71c43540cc74ecfd6c3c5e0c76d6e17329/Kunstadt--Interlude-No.-35--thread---paper-19th-C.-music-manuscript---Dantier-Paris--9.5-x-19.75-in--2022--1800-.jpg" /&#62;
&#60;img width="2845" height="3110" width_o="2845" height_o="3110" data-src="https://freight.cargo.site/t/original/i/5c52fb69852c5abb6102327ac01175ffcc73258d85f8966457b16839e582772f/IMG-3336.jpg" data-mid="210445802" border="0"  src="https://freight.cargo.site/w/1000/i/5c52fb69852c5abb6102327ac01175ffcc73258d85f8966457b16839e582772f/IMG-3336.jpg" /&#62;
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&#60;img width="2837" height="2644" width_o="2837" height_o="2644" data-src="https://freight.cargo.site/t/original/i/7bd21137defbf9980c5e6135d546ae52c1c17b85bdb12e3a0e0e961bc356c1fe/Carole_Kunstadt_Interlude-No.-26.jpg" data-mid="241861020" border="0"  src="https://freight.cargo.site/w/1000/i/7bd21137defbf9980c5e6135d546ae52c1c17b85bdb12e3a0e0e961bc356c1fe/Carole_Kunstadt_Interlude-No.-26.jpg" /&#62;

	


	


	
	
	
	



Interlude
Series -


an
improvisational remix





Hand
written music manuscripts from the Nineteenth Century - drawn with
oak gall ink on paper - are cut, woven, layered and knotted/sewn.
Responding to the existing marks and their graphic patterns, while
intuitively recombining them, forms a new text. 



The
deliberate hand drawn notations and staves are divorced from their
intended musical equivalent; and when re-assembled present a
cacophony of lines, notes and marks. Sewn threads amplify the
fragmented notations and lyrics, as a linear and graphic element.



I
am utilizing both a reductive and additive process, which creates
alternative rhythmic patterning and unique musical
re-interpretations. Just as music is an experience monitored through
time, the woven manuscripts are the result of metrical time, and
ultimately a metaphor for both time and fruition.




The
audio, visual and temporal merge in a hybrid form.





	
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