From oxidized metals, foraged crops, and botanical inks and dyes, Cyrah Dardas derives colours and textures from supplies discovered within the earth. Based mostly in Detroit, the artist displays the juxtapositions of her surrounding panorama in work on cotton paper, merging human-made and natural supplies in works redolent of Persian tapestries.
In summary compositions evocative of Georgia O’Keeffe’s sensual flower varieties or the symbol-rich work of Hilma af Klint vis-à-vis the spiritualist motion, Dardas collages paper painted with handmade watercolors and quilts textiles with hand-dyed materials.
“For the last few years, I have been thinking a lot about belonging and seeking to understand it through a more loving relationship to place,” she tells Colossal. “All of my work as an artist flows from this seeking.”
Dardas employs the language of abstraction to discover the human psyche and the “patterns, behaviors, forms, colors, and movements I see in the living world,” she says. Just lately, she’s been contemplating the influence of people seeing ourselves as more and more separate from each nature and each other, concurrently fascinated and grieved by the fallacy of individualism—the confusion between the liberty to make good choices and the perceived proper to do no matter we would like with no empathy or regard for the way it will have an effect on others.
“In my practice, I ask myself, could I possibly foster some level of reciprocity with any—or all—of the many elements and beings that have brought me here and taken care of me?” Dardas says. “In order to do that, I know I need to at least find a way to connect to them differently than the models that modernity offers us. Art is my portal for that, a different type of connection.”
Dardas invokes historical, ancestral methods of being on the earth by consciously connecting to her pure environment. She honors ecosystems and relationships which are naturally cooperative, nourishing, and sustaining, drawing contrasts between processes she views as extractive, like capitalism, patriarchal attitudes, or over-reliance on know-how. She makes use of domestically accessible supplies and depends on analog methods to arrange and course of them.
Describing herself as a “queer, eco-romantic artist and care worker,” Dardas examines the nuances of interdependency, development, and life cycles. A lot of her latest work is a mirrored image of her personal being pregnant as she is at present within the “fleeting baby phase” of latest parenthood. She says:
I acquired inquisitive about different beings that swell and gorge to create life—all of the plant our bodies of water holding seeds, feeding and nurturing them. I needed to reflect them, pondering of myself as a gourd, a seed pod, a fruit. Like the various aspects and expressions of queerness, I felt the expertise of being pregnant was huge and delightfully undefinable, and I needed to translate that feeling or mirroring into one thing visible.
Dardas’s work is on view within the group exhibition Warp and Weft: Applied sciences inside Textiles, introduced by Library Road Collective at The Shepherd in Detroit, which continues by means of Might 3. Discover extra on her web site and Instagram.
