Ann Vollum’s artistic practice is deeply rich and evocative, blending elements of personal history, cultural influences, and a commitment to sustainability. The use of repurposed materials not only adds layers of meaning to her work but also aligns with a growing awareness of environmental concerns in contemporary art. The meditative and slow nature of Vollum’s process likely imbues her pieces with a sense of depth and introspection, inviting viewers to slow down and engage with the intricate details and narratives woven into each piece. The incorporation of ambiguous and dark narratives adds an element of mystery and invites viewers to explore their own emotions and interpretations. Vollum’s childhood experiences in Africa, as well as her travels in Pakistan and India, provide a rich tapestry of cultural influences that manifest in her iconography and use of pattern. This fusion of diverse cultural elements not only reflects her personal journey but also serves as a bridge for viewers to connect with different parts of the world and their own experiences. By aiming to capture the imagination of the viewers and inviting them to bring their own narratives to the work, Vollum creates a dynamic exchange between artist and audience. Each piece becomes a vessel for storytelling and reflection, fostering a deeper connection and dialogue between creator and observer. Overall, her artistic practice is a testament to the power of creativity to transcend boundaries and evoke emotion, inviting viewers on a journey of exploration and self-discovery.
Statement:
My hand stitched pieces are rich and evocative; blending elements of my personal history and cultural influences, The meditative and slow nature of my process imbues my pieces with a sense of depth and introspection, inviting viewers to slow down and engage with the intricate details and narratives woven into each piece. I like to incorporate ambiguous and dark narratives thus adding an element of mystery and inviting viewers to explore their own emotions and interpretations. My childhood experiences in Africa, as well as travels in Pakistan and India, provided me a rich tapestry of cultural influences that manifest in my iconography and use of pattern. I love detail and images where there is a lot going on. Hieronymus Boch was an early influence; Edward Gorey and his sense of humor; Henry Darger and his bizarreness; along with illustrated children’s books. As an antidote to my allegorical pieces I create sculptures either from rust and eco-dyed material which is sewn into “poufs” and embellished before being assembled on a hardware cloth form. This quirkiness follows through in my organic wet felted sculptures, which are more joyful, celebrating form and color. For my sculptures, I like to work in series of three, exploring how the same component “parts” when assembled and embellished in similar but different ways can produce incredible diversity. Women’s issues are important to me: how women are treated and valued by society, their empowerment and strength. I aim to elevate the “hand stitched”, long seen as “women’s work” and as a craft to fine art!