Date of this Version
In Approaching Textiles, Varying Viewpoints: Proceedings of the Seventh Biennial Symposium of the Textile Society of America, Santa Fe, New Mexico, 2000
This quote from The Diary of Anais Nin, might well describe many artists' experience. The journey that solidifies creative impulses into aesthetic objects often involves experiences that lie outside the artist's own culture. These other lives and other states of perception act as catalysts, generating new forms in the liminal space which travelers' frequent. For Carolyn Price Dyer, the germane shifting cultural boundaries are those between the Western aesthetics of Modernism and the Bauhaus and the Eastern aesthetics of Asian art. Trained under the former, the latter Asian influences spring from graduate studies in Asian art history, work experience at the Seattle Asian Art Museum and travel experiences. My approach in this paper will also be based on the idea of travel, of developing a narrative path through the artist's work, hoping neither to cover the entire diversity of her work nor every aspect of the work that I do discuss. Rather, I hope to trace certain themes in Dyer's work as they develop over time. My own interest sends me off in search of those special cases when form and content, technique and meaning merge, working together to produce art that is both sensual and intellectual, physical and conceptual.