In my work, I use a sewing machine to create thread drawings. By sewing into fabric that dissolves in water, I can build up stitched lines on a temporary surface. The crossing threads create strength so that when the fabric is dissolved, the thread drawing can hold together without a base. With only the thread remaining, these images appear as though they would be easily unraveled and seemingly on the verge of falling apart, despite the works' raveled strength. I am interested in thread's assumed vulnerability, its ability to unravel, and its strength when it is sewn together.
Through an exploration of line and its 2-d and 3-d implications, stitch is used in my artwork to explore various concepts such as connections to home, the fibers of the body and more formal considerations of thread's accumulative presence. I explore embroidery’s duality- its subtle quality versus its accumulative presence and its structural possibilities versus its fragility.
McCavour holds a BFA from York University where she studied drawing and in May 2014 she completed her MFA in Fibers and Material Studies at Tyler School of Art in Philadelphia, PA. McCavour shows her work in galleries nationally and internationally with solo exhibitions in 2016 in Cornerbrook (NL), Roanoke (VA), Olympia (WA), Washington (PA), Smithville (TN) and Ruston (LA). She has recently completed residencies at Harbourfront Centre’s Textile Studio in Toronto, at Maison des Metiers D’art de Quebec in Quebec City and the Klondike Institute of Art and Culture in Dawson City, Yukon. She has received numerous awards and scholarships from The Canada Council for the Arts, The Ontario Arts Council, The Toronto Arts Council, The Handweavers and Spinners Guild of America, Craft Ontario, The Ontario Society of Artists, The Surface Design Association and The Embroiderers Guild of America.
Micah Adams, Pyramid Of Children brooch, cut-out San Marino coins (Silver) 7.5 cm x 6 cm x 1.5 cm.
Photo: Paul Ambtman
My work is about ideas. Scale is ambiguous within my work. That said my preference of scale is that of little things, a world of the minute, of discarded fragments in my day to day experience. More and more, the goods we use every day are made to be disposable, coins may be the oldest objects we handle on a day to day basis. I am a collector of objects as much as I am a maker. I see myself as an archivist of a world of found objects. In my work I value the quiet personal moments of the day in which I construct small works that simulate a place for wonder and contemplation. In my research, I look for uncanny relationships to seemingly unrelated phenomena. As an artist I’m always collecting and reassembling found objects to create new meaning and new possibilities. As a jeweller I repurpose the endless array of themes and motifs found on world coinage into fine scale collages. My practice engages a playful balance between: humour and formal issues; size and perception of scale; longevity versus ephemerality and how these relationships inform value of work.
Micah Adams, 2018, Reference photo: work in progress with Islington Village mural by John Kuna, Toronto, ON. Plate: 8 cm x 8 cm
As a child, Adams imagined himself an amateur cartographer; drawing and exploring local woods. Originally from Nova Scotia, he began his formal art training at CÉGEP John Abbott College in Montréal and received his BFA from the Nova Scotia College of Art and Design in Halifax. Upon Graduation in 2008, he pursued a three year residency in Toronto at Harbourfront Centre's Metal/Jewellery studio. In 2013, Adams applied this jewellery experience to a printmaking residency at Toronto’s Open Studio. Where printmaking and jewellery merged; finely cut coins became tiny printing plates. During a residency at the Museum of Glass in Tacoma, Washington, he translated drawings into sculptures. This glass work won the 2016 top award for Best in Festival during the Toronto Design Offsite Festival. Adams has received numerous grants from government agencies and has works in private as well as corporate collections. Since 2004 his drawings have been held in the Pierogi Flat Files (New York). He is represented by MKG127 (Toronto) and L.A. Pai Gallery (Ottawa). Adams currently lives and works in Toronto.
View the Keepsake exhibition catalogue here.
We acknowledge the support of the Canada Council for the Arts, which last year invested $153 million to bring the arts to Canadians throughout the country.
Nous remercions le Conseil des arts du Canada de son soutien. L’an dernier, le Conseil a investi 153 millions de dollars pour mettre de l’art dans la vie des Canadiennes et des Canadiens de tout le pays.
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