Nagare VII

Kay Sekimachi, Nagare VII, 1970, woven nylon monofilament, Smithsonian American Art Museum, Museum purchase, 1972.183
Kay Sekimachi, Nagare VII, 1970, woven nylon monofilament, 8099 in. (203.222.822.8 cm.), Smithsonian American Art Museum, Museum purchase, 1972.183

Artwork Details

Title
Nagare VII
Date
1970
Location
Not on view
Dimensions
8099 in. (203.222.822.8 cm.)
Credit Line
Museum purchase
Mediums
Mediums Description
woven nylon monofilament
Classifications
Highlights
Object Number
1972.183

Artwork Description

I love the calm that my work brings to me.
--Kay Sekimachi

Nagare is the Japanese word for "flow" or "river," a reflection of Kay Sekimachi's intuitive weaving style. She first learned the fundamentals of weaving in the early 1950s at the Berkeley Adult School, where she studied fashion design. Later, at the California College of Arts and Crafts, she studied under Trude Guermonprez, a weaver trained in the German Bauhaus style that combines art and design. These courses shifted the trajectory of her career by opening her eyes to the artistic possibilities of weaving. Inspired by the structured elegance of calligraphy, origami, and lacework, Sekimachi created hanging sculptures with a multilayered weaving technique. She situated her work at the forefront of the fiber arts movement by dressing her loom with monofilament, or fishing line. The modern material allowed her to shape each woven layer by hand to create the natural effect of a rippling stream.

Verbal Description

This delicate sculpture hangs from the ceiling at almost seven feet long, with a narrow diameter of only nine inches. Created from sheer white netting, the oblong sculpture is almost transparent. Wispy tendrils of monofilament dangle in coiling curls from the sculpture’s base and drape over its top, lending it a jellyfish-like ethereality. Inside, visible through the netting, suspends a clear, horizontal ring that seems to hold the object’s shape. Layers of sheer netting appear to fuse together in some areas and fall apart in others, adding dimension to the work and creating undulating patterns like helixes or S curves. These gentle waves contribute to the airy fluidity and otherworldliness of the sculpture.

Works by this artist (3 items)

Edward Kienholz, Nancy Reddin Kienholz, Sollie 17, 1979-1980, mixed media construction, Smithsonian American Art Museum, Museum purchase through the Luisita L. and Franz H. Denghausen Endowment, 2001.58, © 1980, Nancy Reddin Kienholz
Sollie 17
Date1979-1980
mixed media construction
Not on view
Edward Kienholz, Untitled, n.d., encaustic on fiberboard, Smithsonian American Art Museum, Gift of Patricia Colleen McCall, 1982.125
Untitled
Daten.d.
encaustic on fiberboard
Not on view
Edward Kienholz, Nancy Reddin Kienholz, Drawing for Sollie 17, 1980, mixed media construction, Smithsonian American Art Museum, Gift of G & W Investments, 2001.59A-D, © 1980, Nancy Reddin Kienholz
Drawing for Sollie 17
Date1980
mixed media construction
Not on view

Exhibitions

Media - 2019.15 - SAAM-2019.15_1 - 137377
Subversive, Skilled, Sublime: Fiber Art by Women
May 31, 2024January 5, 2025
The artists in Subversive, Skilled, Sublime: Fiber Art by Women mastered and subverted the everyday materials of cotton, felt, and wool to create deeply personal artworks.

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