“My most recent body of work is a selection of cyanotypes on fabric. Drawing formally on cross-stitch samplers and ancient textiles, these works combine an early photographic process with even older resist dyeing techniques: shibori, batik, and stitch resistâprocesses that historically employ indigo dyes. On a technical level, the works are motivated by the fact that indigo dyeing requires controlled exposure to air, while cyanotypes require controlled exposure to light; however, both processes achieve their characteristic blue hue through a process of oxidation, reacting with oxygen molecules in water and air. By wedding traditional stitch resist techniques with modern cyanotype printing, the pieces reveal a latent correlation between the two distinct processes. In these works, cloth is prepared by stitching, binding, and applying wax to resist the photographic chemicals in precisely the same way one would prepare an indigo-dyed cloth. After exposure to the sun and removal of the embroidered threads, the photographic process produces an indexâa literal trace of the time and labor of stitching.” — Michael Milano
Michael Milano (b. 1977) is an artist, writer, and curator living and working in Seattle, WA. He earned his MFA in Fiber and Material Studies from the School of the Art Institute of Chicago, and his BA in Humanities from Shimer College. He has shown at museums, galleries and alternative art spaces such as Elmhurst Art Museum, IL; Dorsky Gallery, Long Island City, NY; DBQ Project Space, Pittsburgh, PA; Devening Projects, Chicago, IL; Roots & Culture, Chicago, IL; threewalls, Chicago, IL; Praxis Space, Singapore; Trunk Show, Chicago, IL; Intermedia House, Toronto, ON; Peregrine Program, Chicago, IL; Adds Donna, Chicago, IL; and the Ukrainian Institute of Modern Art, Chicago, IL. His writing has appeared in Surface Design, Textile: Journal of Cloth and Culture, Women Artist Zine and Bad At Sports, among other publications.
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