100 Colors, 2018, 33" h x 502" w x 1/2" d, Urban Intervention in Crocheted Acrylic, a special installation in conjunction with 100 Projects, Otis College of Art and Design, Los Angeles, CA. 100 Colors is a site-specific installation of knitted and crocheted yarns representing each of the 100 years of Otis College of Art and Design.  Donated ‘granny stash’ and current yarns celebrate the contributions of Otis College alumni and current students to the greater creative community. 100 Colors is a site-specific installation of crocheted yarns representing each of the 100 years of  Otis College of Art and Design. Donated 'granny stash' and current yarns celebrate the contributions of Otis College alumni and current students to the greater creative community.

 
A Piece Of Me, 2017, 88" h x 16" w x 1/4" d, Namesake Installation in Dunning Courtyard in conjunction with New Threads: Perspectives in Contemporary Fiber Art at Laband Art Gallery, Los Angeles, CA. A Piece Of Me - Art is a piece of someone's heart and soul. A self-expression left behind. What impact will you have on the world? What will you leave behind?

A Piece Of Me, 2017, 88" h x 16" w x 1/4" d, Namesake Installation in Dunning Courtyard in conjunction with New Threads: Perspectives in Contemporary Fiber Art at Laband Art Gallery, Los Angeles, CA. A Piece Of Me - Art is a piece of someone's heart and soul. A self-expression left behind. What impact will you have on the world? What will you leave behind?

 
Chevroned Vessel, 2018, 10" h x 10" w x 10" d, Knotted Cotton on Stone. I have been perfecting my knotting artistry for over 45 years. Working with simple materials such as cotton string and rope, I sculpt each vessel carefully selecting and meticulously tying thousands upon thousands of knots. This labor-intensive technique, the process of making the work, becomes just as important as the resulting form.  There is also a certain intimacy in my knotted work that is borne of the process itself. Each knot is a moment of my time spent in studio, providing structure and bringing a sense of order to the chaotic lengths of string and rope.  The knots I use most in my work are a contemporary form of Macramé. I wrote the book Macramé Today: Contemporary Knotting Projects to teach others the techniques and processes which first inspired me as an artist.

Chevroned Vessel, 2018, 10" h x 10" w x 10" d, Knotted Cotton on Stone. I have been perfecting my knotting artistry for over 45 years. Working with simple materials such as cotton string and rope, I sculpt each vessel carefully selecting and meticulously tying thousands upon thousands of knots. This labor-intensive technique, the process of making the work, becomes just as important as the resulting form.  There is also a certain intimacy in my knotted work that is borne of the process itself. Each knot is a moment of my time spent in studio, providing structure and bringing a sense of order to the chaotic lengths of string and rope.  The knots I use most in my work are a contemporary form of Macramé. I wrote the book Macramé Today: Contemporary Knotting Projects to teach others the techniques and processes which first inspired me as an artist.

Darlyn Susan Yee

 

 

Artist Statement

I create fiber-based socially engaging figurative sculptures and installations to
engage the viewer to explore the relationship between materials and form. I
recontextualize the more feminized traditions and practices of fiber art inverted
through the use of industrial materials to explore issues of gender identity, sense of
place and purpose, and cultural identity and commonality. My recent focus is on
repurposing and up-cycling materials using traditional fiber techniques to create
installations of exaggerated clothing, and temporary public art displays.

I manipulate texture and form through style combinations including hand knotting,
knitting and manually altered machine knitting techniques with crochet. The more
compliant fiber materials I use include cotton, wool, mohair, linen, lurex, acrylic,
nylon yarns and cotton string and rope. Mastering traditional techniques with more
cumbersome materials such as flagging and barricade tapes challenged me to
create my own tools. I choose to work with all of these materials because of their
tactility.

http://www.darlynsusanyee.com