lauren a. ross

Inbetween lines, linen and indigo

2016

photography by Gillian Bostock Ewing

Eroding Stones, 2016, installation at Minnesota Street Project, San Francisco
 

Warping for the Ocean Weft, video and linen weaving
Note from My Grandmother (No. 3), black thread on onion skin paper
Untitled (a collaboration between my grandmother and me) , Jessie's unfinished painting, c.1980 - 2016
To live in this world you must be able to do three things,
paper, handwriting, bees wax, glass

linen and icelandic wool, 2 x 2 ells each

The ell was a unit of measurement used to measure textiles in Iceland until the 13th century. An ell was measure from the tip of the middle finger to the elbow. Due to the obviously inconsistent nature of this measurement, the Church of Pingvellir marked out 20 ells on the side of the building for official measurement. By the 13th century the ell was changed to be the same as the English ell, which was about 2 ells, or 45 inches. Textiles were used in early Iceland as currency to pay taxes to the Norwegian government, among other things. 

This work was made at the Icelandic Textile Residency, in Blönduós, Iceland, Fall 2017. 

Notes II (No. 1,2,3,4) , 2016, black thread on onion skin paper

untitled (horizon), 2017

woven double cloth in linen and indigo, video projection

Installed as part of the exhibition WILD at Root Division, San Francisco, June to August 2017.  

photographs by Guta Galli

knotted black thread, 2015

12' x 10' x 10' x 10' 

photography by Gillian Bostock Ewing

things to remember, linen thread and indigo.

warp, ink monotype on cotton paper.

warp and weft, ink monotype on cotton paper.

warp and weft II, ink monotype on mulberry paper. 

untitled (a sip of water with a straw), indigo on cotton paper.

untitled (a sip of water with a straw II), indigo on cotton paper.

aide mémoire, ink monotype on mulberry paper.

untitled (a sip of water with a straw III), indigo on mulberry paper. 

This work was made during a residency at MASS MoCA, May 2017. 

photography by Julia G. Sabot. 

Untitled (a collaboration with jessie) 
2016
linen and rami shroud, Jessie's unfinished paintings

photography by Gillian Bostock Ewing

thread, tissue, beeswax

photography by Gillian Bostock Ewing

To live in this world

Fall 2014
hand-knotted net, For-Site, Nevada City

photographs 1-3 by Nina Dietzel
 

Nets to Catch Unpicked Fruit, 2015-
documentation of ongoing project
 hand-knotted white cotton string nets

Untitled (Memory Net no. 3), 2014

plastic hand-knotted net, beeswax

Looking Out (Amari, Mary, Jessie, Julio, Marilyn, Caitlyn, Dustin, Charles, Maria, Alfred, Louise, Justin, Geneva, Alejandra, Cathy, Emily, Lauren, Elizabeth, Naja, Jeffrey)

20 stitched drawings on mulberry paper, dimensions variable

 

The Drone Catcher was a large hand-made net that became a practical dream catcher: a net to catch drones. It was created at the Shangri-La base, research and training facility, near Joshua Tree, CA at Camp CARPA.  The Drone Catcher, created to stop destructive human-less machines, illustrates the tension between military attempts to distance/dehumanize killing and the real fragility of human life. Knotting the net itself was a performance in dreaming, while the Drone Catcher itself is a reflection on the absurdity of war and the futility of small human actions against a giant military-industrial complex.

Joshua Tree, 2013

2007