To find out more about Dave Lieske visit www.daveygravy.ca.
Highlights of the Fabric
The word “fabric,” in this context, means every single material element of which the Cathedral is composed, from the stones and brick of the building to the works of art—dating from the medieval to the contemporary periods—that adorn its interior and the 11-acre Close upon which it sits.
Cast by Barbedienne of Paris, who also cast the Statue of Liberty. Each door is 18 feet high, six feet wide, and weighs three tons. The doors’ 60 bas-relief panels depict Old and New Testament stories on the exterior side, and flowers, birds and natural imagery on the interior side.
Altar for Peace, George Nakashima
Master woodworker George Nakashima’s Altar for Peace was crafted from the trunk of a 300-year-old Black Walnut tree and dedicated in 1986, during a ceremonial prelude to the at the Cathedral’s New Year’s Eve Concert for Peace. Shaped like a ginko leaf, its two massive sides are held together by delicately carved rosewood butterfly keys. Nakashima dreamed of providing Altars of Peace for each of the seven continents. Today there is also one in Russia and one in India.
This multicolored banner hangs above Nakashima’s Altar for Peace in the Narthex of the Cathedral. Each part of Franck’s design symbolizes as an aspect of humanity as he saw it. The colors of the stripes—brown, black, red, white, yellow, and green—represent the racial diversity of humankind as well as the green earth that is our collective home. Each stripe is doubled to represent the coexistence of male and female. The banner is tubular, signifying that there is no first and no last.
Choir Stalls
On permanent loan from The Metropolitan Museum of Art, New York, the 15th-century German choir stalls separate the Narthex from the Nave, demarcating the entrance from the body of the Cathedral with their warm, wooden hues and elegantly carved details.
The Firemen Memorial was sculpted by Ralph Feldman, a New York City firefighter, and is composed of the remains from various fire sites. The memorial was dedicated to all firefighters in 1976, and gained new resonance in the wake of September 11. It is on view in the Labor Bay.
Breaking the rules
TextileArtist.org: What initially captured your imagination about cross stitch?
Davey Lieske: Much like tattoos, graffiti, woodworking, etc, there are traditional stylised images that I saw the opportunity to modernise and appropriate. I was very intrigued with the idea of using hundred of small coloured stitches to create a larger image, much like a mosaic. I saw it very accessible because it required very little training and materials.
What or who were your early influences and how has your life/upbringing influenced your work?
In high school I was introduced to the hip hop and graffiti culture. By meeting other like-minded individuals and attending events, I learned that art (in any form) could carry a message. I love the process and guidelines involved in graffiti, where you take a word, add some structure and extensions, add 3D or a drop shadow, then give it a fill and a background. Once you get good at this, you can experiment and break some “rules”. Graffiti has been around for decades, but the pieces and artists that interest me the most are those that take the traditional style and put their own spin on it.
Dave Lieske – Trap Talk (2011)
What was your route to becoming an artist? (Formal training or another pathway?)
After high school, I knew I didn’t want to work in an office or go into a trade and decided to give art school a try with the hope of developing my painting and drawing skills while learning some art history. Art school taught me much much more than that. It gave me a chance to give and receive critiques, a space and a time to create, and a place to experiment and try new things without judgment.
Dave Lieske – Jazzy Jeff and The Fresh Prince (2013)
Lightheartedness and humor
How would you describe your work and where do you think it fits within the sphere of contemporary art?
It is juxtaposition between traditional cross stitch art/embroidery and contemporary hip hop. I believe it fits in the low-brow, pop surrealism scene. I feel the audience is anyone who buys a cd, picks up a magazine, or flips on the tv. We are so flooded with pop culture that it is difficult to ignore or connect with in some way.
Dave Lieske – Slim Thug (2013)
Tell us a bit about the environment you like to work in?
Part of the reason I love cross stitching so much is that it’s portable. I keep whatever piece I’m working on in a Ziploc bag and carry it everywhere in my backpack. My patterns are usually created in my studio where I have all my supplies, frames, and inspiration. When I’m actually stitching, I’ll be parked on my couch in front the TV. The actual stitching portion can be repetitive and I need some background noise.
You’ve taken quite a traditional medium and fused it with very contemporary themes – is this juxtaposition intentional and what is its message?
I don’t want to give away too much of my message, but the juxtaposition is intentional. Pop culture is very specific about gender roles and what a man should look like. Late 90’s and 2000’s hip hop was notorious for depicting men as musclebound tough guys who carried weapons and treated women as sex objects. These are the same rapper’s who are shirtless and oiled up in their music videos which are aimed at a male audience. Hip hop is full of gender role reversal and humor. My work is my interpretation of what I hear and see. I intend to show respect and admiration as well as lightheartedness and humor.
Dave Lieske – Goddigger (2011)
Patience and dedication
How do you seek out subjects for your work?
My subjects are musical artists that I respect and admire their craft. Lately I’ve been trying to work in series; where 2 or more pieces share the same context. Whether its black and white, songs about crime, or borders with flowers, this method helps me create more cohesive pieces, and often pieces that wouldn’t otherwise get made.
Tell us about a piece of work you have fond memories of and why?
One piece I really enjoyed making was “Tha Doggfather”. It was the final piece I made before graduating from art school. It was back before I embraced computer programs to make my patterns. I had ten days to hand make the pattern and complete the stitching. Somewhere in the middle of it I got the flu for two days. The whole piece took me 60-65 hours, I’m happy with how it turned out.
Dave Lieske – Tha Doggfather (2011)
What advice would you give to an aspiring textile artist?
Don’t give up! Textile work is not for everyone, especially those without patience. Patience and dedication are important if you want to create a masterpiece.
