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Rachel Olin
          Born 1988
          Lives and works in Lincoln, UK

          A continuing theme in Rachel Olin’s practice is the use of textile as  a
          medium  for  sculpture  and  installation, challenging  the  traditional  uses
          of the material, whilst also exploring the ways in which the material can
          be  manipulated  in  order  to  express  ideas.  As  an  artist  her  works  are
          becoming larger and more ambitious in scale, with most pieces taking a
          large amount of time to complete. The materials she uses are commonly
          associated with traditional feminine craft and from the point of view of
          a ‘maker’.  However,  Olin hopes  to  challenge  gender  stereotyping  by
          using the materials in contemporary ways. Olin’s work often draws from
          her cultural interests in Icelandic landscapes, traditions, skills and folklore.
          Folklore particularly interests Olin as it draws from an instinct to survive and
          is often composed of light and dark themes.

          Olin is interested in the way works of art are explored and understood
          through the senses. Most of her works invite the viewer to touch, smell
          and listen. Past pieces have explored the idea of sensory deprivation;
          the  reduction  in sensory  information  in order  to  heighten  the  overall
          experience  of  the  art  piece.  Currently  Olin  specialises  in  wet  felting
          techniques and aims to introduce other techniques and materials such
          as sound to alter the perceptions of those that view her work.
          Roles  within  marriage  and  in  wider  society  have  been  traditionally
          dictated by gender; men rear the sheep while women spin and felt the
          wool. Nauðsyn kennir nöktum konur að snúast is an exploration of the
          traditions and perceptions of marriage through a monolithic textile and
          metal construction. This show is the result of two binary notions that are
          conjured when considering the idea of marriage; one of tradition, ruled by
          gender specifi c restriction and one of union, companionship and mutual
          support. ‘Nauðsyn kennir nöktum konur að snúast' specifi cally compares
          the perceptions of marriage in British culture and Icelandic culture. The
          title is taken from an old Icelandic proverb meaning 'Necessity teaches
          naked women to spin'.

          RACHEL  OLIN  received  a  BA  (Hons)  Education  Studies  and  Art  and  Design  from
          Bishop Grosseteste University College, Lincoln (2012) and has since exhibited in a
          number of group exhibitions including; We Don’t Know Either: Part Three, Sam Scorer
          Gallery, Lincoln, UK, Derby City Open, Derby Art Gallery and Museum, Derby, UK
          (2012),  12.12.12,  The Collection, Lincoln, UK (2012),  Monomania, Cupola Gallery,
          Sheffi eld, UK (2013), The Button Project, Macclesfi eld Silk Museum, Macclesfi eld, UK
          (2013), Recovery, Institute of Mental Health, City Arts, Nottingham, UK and Black   Right: Three Hundred And Sixty Five Times One Point
          Sheep, The Darker Side of Felt, The National Centre for Craft and Design, Sleaford,   Five Equals Eight Thousand One Hundred And Ten (Thirty
          UK (2014). Her fi rst Solo exhibition was Nauðsyn kennir nöktum konur að snúast, The   Two Thousand Four Hundred And Forty), 2012, Calico.
          Collection, Lincoln, UK (2013).                              h: 160cm w: 76cm d: 200cm, Artist’s Collection.

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