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POLLY BINNS

Updated: Oct 25, 2018


Fig 1. Binns, P (1996) Sand Surface and Shadows, Winter [Artist canvas, acrylic paint, threads, surface treatments.] 7 panels 280 x 210 cm. Nottingham Castle Museum & Art Gallery


Below are a series of references taken from secondary sources which describe the approach artist Polly Binns takes when beginning a new collection of work. The way in which Binns chooses to absorb her surroundings is particularly relevant towards my study of representing place through textile.


'My work is read as hybrid, spanning Fine Art and Textile. My preoccupation is with landscape, especially that of intertidal zones of precarious nature and endless shift. The walk in the landscape, the actuality is essential to the work; what is sought are the possibilities of the unexpected - an absorptive mapping, expressed through canvas, paint and thread.' (Binns, 2004)


'Polly Binns became preoccupied by the relationships between materiality, structure and surface. In the early 1990s her material knowledge allowed her to articulate complex ideas or surface and change in the landscape. Since then studio practice is always preceded by a repeated walk, at low tide, in the ­ Blakeney Channel, on the north Norfolk coast. As artist Hamish Fulton says of his practice, ‘no walk, no work.’' (Kashiwagi, 2011)


Fig 2. Binns, P (1996) Serial Shimmers and Shades [Acrylic paint and thread on linen canvas] 185 x 125 cm. Nottingham Castle Museum & Art Gallery


'Binns studies these shifts with forensic attention. At the same time, she keeps a daydreaming quality in her gaze, being open to the unexpected, accumulating knowledge or materiality and immateriality.' (Kashiwagi, 2011)


Fig 3. Binns, P (1996)Sand Surface and Shadows, Winter [Artist canvas, acrylic paint, threads, surface treatments] 7 panels 280 x 210 cm.


'Binns’ is a phenomenological approach. Walking, she immerses herself in direct experience of surface phenomena-mud, sand, water, detritus, bird marks, rope marks, vegetation, light.' (Kashiwagi, 2011)


Surface (n) the outer boundary of a material body – earth, sea, artwork.

Surfacing (v) to come up from a state of immersion




References


Binns, P (2004) Sketchbook Circle - Polly Binns. Available at: http://www.callytrench.co.uk/sketchbook-polly.html (Accessed: September 2018)


Kashiwagi, N (December 1, 2011) TACTILE Fact-File: Lines of Thought. Publisher: Unknown. Available at: https://issuu.com/naomikashiwagi/docs/tactile_factfile_extraordinary_textiles (Accessed: September 2018)


Fig 1. Binns, P (1996) Sand Surface and Shadows, Winter [Artist canvas, acrylic paint, threads, surface treatments.] 7 panels 280 x 210 cm. Nottingham Castle Museum & Art Gallery. Available at: http://modernistaesthetic.blogspot.com/2011/09/polly-binns.html (Accessed: September 2018)


Fig 2. Binns, P (1996) Serial Shimmers and Shades [Acrylic paint and thread on linen canvas] 185 x 125 cm. Nottingham Castle Museum & Art Gallery

Available at: http://modernistaesthetic.blogspot.com/2011/09/polly-binns.html (Accessed: September 2018)


Fig 3. Binns, P (1996)Sand Surface and Shadows, Winter [Artist canvas, acrylic paint, threads, surface treatments] 7 panels 280 x 210 cm. Available at: http://modernistaesthetic.blogspot.com/2011/09/polly-binns.html (Accessed: September 2018)




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