Gabrielle Teschner | Her Process
Gabrielle Teschner is a sculptor living in San Francisco. Her muslin fabric, paint and stitched works challenge the interpretation of traditional sculpture, offering a new perspective that are architectural and tactile. Read, in Gabrielle's own words, how her process unfolds and the ideas and influences that surround and permeate her work.
"I try not to conceal my process--I don't trim the edges, I don't snip every thread. I want the breaks and the misalignments to be a strong focus of the work. People ask if they can turn it over, and in that moment I think the sculpture is made.
"People naturally suspect there is more of the thing to be seen and when it hangs on the wall, access is limited; but I like that. I don't think we need to see each other from every possible side to know for certain that there'd be something there if we looked. When someone owns one of these pieces, they become the keepers of that side of the work. Not every angle is public.
"I want to use fabric to convey force or weight, to appear to support or resist, to have substance. Sometimes when I make a brick sculpture, it is really about a brick. Other days, more.
"When I paint the cloth I'm thinking of actual surfaces. The gray references concrete or stone. Works I made on the Pacific earlier in the year approximate the surface of that ocean. The pieces I made in Key West are inspired by the white wood boards that nearly all of the houses are made of. I had also just spent time in Sicily where the buildings were made of white stone. The colors of buildings were reflections of the sky, effects of light and shadow rather than paint-can colors. Sometimes you could say that a building was orange, but that moment would pass. The color is sensed, but it cannot be grasped.
"I became interested in Nomadic behavior a long time ago. There is a Saharan tribe that converts their tents into palanquins that sit on top of their camels. They sit in these and travel in search of their next home, where they dismantle the riding seat back into a tent. The tent is experienced as both a space and an object. Its purpose and shape are not fixed. The pieces I make change when they are folded into my suitcase or unfolded on a porch. Practically, it allows all kinds of people I meet to touch the artwork, which is an experience quite lost in the digital world and in the museum world.