Booklyn Artists Alliance

Candace Hicks, Athens, TX

Booklyn is thrilled to represent Candace Hicks's hand sewn books, prints & drawings.

Common Threads (series), 2011

The Impossibility of Doing Nothing (exhibition), 2010

Cloud Watching: A Set of 5 Prints, 2011

Composition Drawings: Black (spread), Green, Blue & Red, 2010


Common Threads, 2010

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Common Threads, a series of hand-embroidered canvas books, copy the form and design of dime store “composition” books.

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The books themselves, self consciously hand made objects, are a record of coincidental occurrences generally gleaned from reading or mundane events.

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The use of embroidery thread allows for the production of the text and image with the same mark and material, to make the text, image and substance of the book inseparable. Each book measures 7x9x1."

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String Theory is a unique book in the Common Threads series, it Hawkinsly goes where no seamstress bookmaker has gone before and currently exists in the collection of the Stanford University Art Library.

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The Impossibility of Doing Nothing, 2010

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Exhibition piece, handsewn, unique, ~ 2.5 x 3.5,’
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Cloud Watching: A Set of 5 Prints, 2011

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13x19", 4 colored serigraph in center of white coated paper

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Composition Drawings: Black (spread), Green, Blue & Red, 2010

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22x30" per panel

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Biography
Formerly a house painter, bounty hunter, and au pair, Candace Hicks has spent most of her life in her home state of Texas (except three years in Paris, France, not Paris, Texas. She has never been to Paris, Texas, but she grew up in a small town named for another cultural seat: Athens, Texas!) She established a non-profit center for the arts in Athens, The Image Warehouse, in 2003. Trained as a print maker, she works primarily with books, but dabbles in video and installation.

Artist’s Statement
I’ve collected coincidences for ten years. It started when I read two books in a row that both included the phrase “antique dental instrument.” While that was not the first coincidence I ever noticed in my reading, that singular instance convinced me to keep a record. I began to consider that the phrase might have been the profound masquerading as the mundane. Or not. But I wanted to collect the data. I cataloged my coincidences in composition books that filled rapidly. As it turned out, “antique dental instrument” has not held any special meaning in my life or my art. Neither have any of the coincidental phrases that followed, such as “stuffed mountain lion” or “black currant lozenge,” but the act of noticing them became the lens through which I filter the world and my experiences.

As an ardent reader, I naturally gravitate toward creating books and printing. And taking note of coincidences is akin to the kind of observation a landscape or portrait artist practices. Thus, my observations take the form of hand-stitched texts that I call Common Threads. Sewing every line, letter, and illustration in the books enhances their status as objects. By laboring over a dime store composition book, painstakingly recreating it by hand, I have found a way to express the insignificant as potentially philosophical. Just as a landscape or portrait painter’s observations allow them to reproduce a version of reality, my scrutiny of repetition creates a narrative that navigates fictional universes.

Studying coincidence led me to other speculative areas of science and the paranormal. My work customarily explores the aesthetic and narrative possibilities of crop circles, secret societies, and alchemy. This interest in pseudoscience developed into an alternate version of string theory to explain the occurrence of coincidence. Most of my projects take the form of books or series of prints as each represents an inquiry or sustained reflection on a given subject. Like the patterns the covers of composition notebooks, patterns in fictional universes can go unnoticed without the care of sustained scrutiny. I just happen to be the one paying attention. - Candace Hicks

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