Breaking Tradition Multicultural Australian Artist Mixes Styles in Textile Creations by Serena Lei Japanese-born textile artist Keiko Amenomori-Schmeisser grew up in Germany and since 1979 has called Australia her home. When asked how living in three such distinct cultures affected her perspective, Amenomori-Schmeisser did not immediately mention her artistic influences but rather her ability to view international news from three different points of view. ìMy focus is not so narrow,î she explained. ìFrom Germany, I watch Japan. From Japan, I watch Australia.î The Australian Embassy is currently hosting an exhibition of Amenomori-Schmeisserís textile works titled ìWith the Flow Against the Grain.î It is refreshing to take the time out to appreciate an international artist who benefits from a larger world view, even if the new security measures at the Australian Embassy remind us of our current conflicts. Amenomori-Schmeisser is unafraid to employ the ancient Japanese art of shibori in her work and then break with those very same traditional methods. The detailed process of shibori is sometimes called ìtie and dye.î The technique involves stitching patterns into cloth, tightening the thread until form gathers in the fabric, dyeing the cloth, and then releasing the stitches. As a result, the patterns retain the original color of the cloth against a darker background. Amenomori-Schmeisser describes this process as a journey that begins with a sketch. She breaks with tradition by using dye colors and fabrics not previously favored by shibori artists. In addition, Amenomori-Schmeisser often adds paint or digital prints to her textiles, further updating the ancient technique. Once the stitches are released, Amenomori-Schmeisser chooses to leave the texture in the fabric, rather than ironing it out. The result is a complex layering of materials and techniques, creating sparse abstract landscapes. Shibori requires hundreds of needles to complete the intricate process. ìThese 100 needles are the tools that I work with. They are the helpers and travel companions, and they are worthy subjects for a work in their own right,î Amenomori-Schmeisser said, gesturing to the digital prints on the left side of the gallery where hundreds of magnified needles are arranged in columns and circlesóa virtual army of helpers. Although Amenomori-Schmeisserís exhibition focuses on her work with shibori, it also includes four centenary banners commissioned by Australiaís House of Representatives. The 23.9-foot-by-3.3-foot banners are digitally scanned collages titled ìThe Land,î ìThe People,î ìThe Lawî and ìThe Future.î The interrelated banners celebrate the 100th anniversary of the House of Representatives. ìLines and Layers,î shibori and dye on silk, is Amenomori-Schmeisserís favorite piece. The idea came to her in an inspired moment: ìIt was so spontaneous. I finished it in one minute,î she said of the sketch. The color for the dyeówhich is a deep red so dark that it photographs as blackówas originally yellow, blue and then an accidental pink. She kept at the piece until the color was just right. Explaining the title of her exhibition, Amenomori-Schmeisser uses ìLines and Layersî as an example of her combination of old and new methods. The textile was created using the traditional shibori techniqueóìwith the flowîóbut the piece is hung backward because she preferred the reversed look of the stitchingóìagainst the grain.î Amenomori-Schmeisser finds her inspiration in the natural world, particularly the Australian landscape. It is a comment often heard by many Australian artists who, like Amenomori-Schmeisser, describe the terrain as harsh yet beautiful, and whose art includes native plants and references to the ocean. ìFire Callistemonî is a green silk textile with a pattern similar to veins on a leaf. The Callistemon flower is painted in bright orange paint and resembles an animal fossil. An orange creature on the left-hand corner turns out to be an antóa tribute to Amenomori-Schmeisserís friend. Another piece, ìGrey Bark,î looks at first glance more like animal pelt than tree bark. There is an organic warmth to these silk textilesówhich have the appearance and texture of suedeóthat leads to such animal references. Amenomori-Schmeisser further modernizes shibori by scanning images of original shibori works and printing them on translucent panels of fabric. She layers the fabric to give the colors weight and resonance. ìCloudplayî is a shimmering red silk, while three versions of ìWaterplayî become successively more light and transparent. The silver material ripples at the slightest breath, constantly moving and catching the light. By combining the old and the new, Amenomori-Schmeisser has succeeded in making shibori her own through her unique translation of an ancient technique. ìWith the Flow Against the Grainî runs through May 16 at the Australian Embassy, 1601 Massachusetts Ave., NW. For more information, please call (202) 797-3383 or visit www.austemb.org. Viewings are by appointment only. Serena Lei is a contributing writer for The Washington Diplomat.