spending the night in a different bed (nantucket I)
linen on wood panel, pine and steel pin frame
This work is part of a series of hand-sewn multiples.
Conceived through extensive sketching and a combination of found, offcut and new materials, this series is an attempt to combine and relate these materials. The artist’s self-taught sewing process is a result of trial and error and in some ways an extension of his work with clay, generating a sense of vibration from the satisfying immediacy of running textile through a sewing machine.
In this body of work, Caflisch looks to use and repair what he already has. Across the works there is a sense of accountability and an active slow down as the delicacy of placing and balancing the entire body of work resembles the act of making a single piece. As Caflisch continues to think about time and place, as well as thresholds and barriers, he includes a selection of artist proofs from his archive that are a part of previous editions. The artist continues wanting to maintain a variety of different types of work and also wanting the work to be approachable from a variety of angles and layers.
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This work is part of a series of hand-sewn multiples.
Conceived through extensive sketching and a combination of found, offcut and new materials, this series is an attempt to combine and relate these materials. The artist’s self-taught sewing process is a result of trial and error and in some ways an extension of his work with clay, generating a sense of vibration from the satisfying immediacy of running textile through a sewing machine.
In this body of work, Caflisch looks to use and repair what he already has. Across the works there is a sense of accountability and an active slow down as the delicacy of placing and balancing the entire body of work resembles the act of making a single piece. As Caflisch continues to think about time and place, as well as thresholds and barriers, he includes a selection of artist proofs from his archive that are a part of previous editions. The artist continues wanting to maintain a variety of different types of work and also wanting the work to be approachable from a variety of angles and layers.
Artwork Information
Year
2024
Materials
linen on wood panel, pine and steel pin frame
Authentication
Signed by artist.
The work comes with a Certification of Authenticity signed by the Co-Founder of Tappan
Dimensions
24.5 x 18.5 inches
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“...still constantly remind myself of H.D. Thoreau’s quote “rather than love, than money, than fame; give me truth.” I think this is a crucial mentality to have as an artist, and any other profession; that success, by any definition, will be found in making honest work.”
About the Artist
Ethan Caflisch
Ethan’s exhibition venues and publications include the Institute of Contemporary Art (San Jose), Cheryl Hazan Gallery (New York), A.M. Gallery (Antwerp), Art Maze Magazine, and AnOther Magazine. Explore his large, geometric and minimalist paintings, figurative paintings and hand made textile works.
Choose options
This service is currently unavailable,
sorry for the inconvenience.
Pair it with a frame
Frame options are for visualization purposes only.
FRAME STYLE
MATTING SIZE
BUILDING YOUR EXPERIENCE
powered by Blankwall
Take a few steps back and let your camera see more of the scene.
powered by Blankwall
Was this experience helpful?
This work is part of a series of hand-sewn multiples.
Conceived through extensive sketching and a combination of found, offcut and new materials, this series is an attempt to combine and relate these materials. The artist’s self-taught sewing process is a result of trial and error and in some ways an extension of his work with clay, generating a sense of vibration from the satisfying immediacy of running textile through a sewing machine.
In this body of work, Caflisch looks to use and repair what he already has. Across the works there is a sense of accountability and an active slow down as the delicacy of placing and balancing the entire body of work resembles the act of making a single piece. As Caflisch continues to think about time and place, as well as thresholds and barriers, he includes a selection of artist proofs from his archive that are a part of previous editions. The artist continues wanting to maintain a variety of different types of work and also wanting the work to be approachable from a variety of angles and layers.
EVA CHEN ON ETHAN CAFLISCH
“...WE WERE REALLY LOOKING FOR PIECES THAT SPOKE TO US AND MADE US PAUSE FOR A MOMENT TO ABSORB, APPRECIATE, AND REFLECT. CAFLISCH'S ART ABSOLUTELY HAD THAT EFFECT ON US.”