[Self Portrait #7] Over Here201390 x 90 " (228.6 x 228.6 cm)Fabric, batting, threadGift of the artist with funds from Moda, Accuquilt, and the American Folk Art Museum2013.2.10contemporary quilt1551104542Luke HaynesTextilesCopyright for this work is under review.http://nodes.emuseum.com/BU1BGBAG/apis/emuseum/network/v1/vocabularies/termMaster20754New YorkSeattleNew YorkSeattleUnited StatesUnited StatesNew YorkWashingtonTextileseMuseum - Collection HighlightsNew YorkSeattleHaynes is often his own best subject and has captured himself in various moments from introspection to sheer silliness. Through exhibitions and his prolific activity in social networking outlets, he has shared private and public moments with the world, offering himself unapologetically. This is the final quilt in his series of self-portraits. Like so many of Haynes’s quilts, there is an intriguing visual push-pull, in this case the dichotomy between the shirt pattern subsumed by the portrait into the background and the anamorphic perspective of the self-portrait that literally puts Haynes “out there,” staring at each visitor as he or she walks by.
Stacy C. Hollander, "[Self Portrait #7] Over Here," exhibition label for alt quilts: Sabrina Gschwandtner, Luke Haynes, Stephen Sollins. Stacy C. Hollander, curator. New York: American Folk Art Museum, 2013–2014.
Object information is a work in progress and may be updated with new research. Records are reviewed and revised, and the American Folk Art Museum welcomes additional information.
To help improve this record, please email photoservices@folkartmuseum.org
Luke Haynes knitted and crocheted for years before he attempted his first quilt portraits during college, inspired by a box of fabric squares and the work of artist Chuck Close. He is an architect by training and is comfortable with volume and perspective, which he sometimes exploits in the anamorphic technique that creates illusionistic space and three-dimensionality, as seen in this quilt. Haynes employs a "take no prisoner" approach, introducing a foreground and background but no middle ground, and he forges what he terms a "collaboration" with his long-arm sewing machine to accomplish an end that he cannot achieve with hand sewing. Materiality is privileged in Haynes’s work; he uses fabrics processed from recycled clothing that he buys from Goodwill in quantities of hundreds of pounds. He breaks these items into their constituent parts by cutting off the waistbands, cuffs, and other finishing elements. In this sense, each quilt is a distillation of the randomness of these clothing lots, and each portrait a Golem of sorts, made from something that has existed before and into which he has breathed new life.
Haynes reveals much of his life on social media. His focus on self is not selfish, but rather an experiential exploration that he invites everyone to join. Much of his quilt work responds to this sense of seeking as well: introspective self-portraits that posit him in various stages of thought, attitude, and action. For this project, he was interested in projecting his self-image on a background structured in squares. The foreground is dominated by large squares that are placed on point and constructed in multiple frames around a central square mimicking the traditional log cabin block. The background is a grid of smaller squares that recedes in muted tones graduating from bold blues to pale pinks and lavenders. His face is photographic and strongly textured by the weave of the fabrics used, the body subsumed into and emerging from the background through color shifts. The anamorphic perspective of the self-portrait literally puts Haynes "out there," staring at each visitor as he or she walks by.
Stacy C. Hollander, "[Self–Portrait #7] Over Here, 2013" exhibition copy for American Perspectives: Stories from the American Folk Art Museum Collection. Stacy C. Hollander, curator. New York: American Folk Art Museum, 2020.
Object information is a work in progress and may be updated with new research. Records are reviewed and revised, and the American Folk Art Museum welcomes additional information.
To help improve this record, please email photoservices@folkartmuseum.orghttp://nodes.emuseum.com/BU1BGBAG/apis/emuseum/network/v1/vocabularies/termMaster20754http://nodes.emuseum.com/BU1BGBAG/apis/emuseum/network/v1/vocabularies/termMaster20754http://nodes.emuseum.com/BU1BGBAG/apis/emuseum/network/v1/vocabularies/termMaster2075420132013 2013 2 1 Haynes is often his own best subject and has captured himself in various moments from introspection to sheer silliness. Through exhibitions and his prolific activity in social networking outlets, he has shared private and public moments with the world, offering himself unapologetically. This is the final quilt in his series of self-portraits. Like so many of Haynes’s quilts, there is an intriguing visual push-pull, in this case the dichotomy between the shirt pattern subsumed by the portrait into the background and the anamorphic perspective of the self-portrait that literally puts Haynes “out there,” staring at each visitor as he or she walks by.
Stacy C. Hollander, "[Self Portrait #7] Over Here," exhibition label for alt quilts: Sabrina Gschwandtner, Luke Haynes, Stephen Sollins. Stacy C. Hollander, curator. New York: American Folk Art Museum, 2013–2014.
Object information is a work in progress and may be updated with new research. Records are reviewed and revised, and the American Folk Art Museum welcomes additional information.
To help improve this record, please email photoservices@folkartmuseum.org
Luke Haynes knitted and crocheted for years before he attempted his first quilt portraits during college, inspired by a box of fabric squares and the work of artist Chuck Close. He is an architect by training and is comfortable with volume and perspective, which he sometimes exploits in the anamorphic technique that creates illusionistic space and three-dimensionality, as seen in this quilt. Haynes employs a "take no prisoner" approach, introducing a foreground and background but no middle ground, and he forges what he terms a "collaboration" with his long-arm sewing machine to accomplish an end that he cannot achieve with hand sewing. Materiality is privileged in Haynes’s work; he uses fabrics processed from recycled clothing that he buys from Goodwill in quantities of hundreds of pounds. He breaks these items into their constituent parts by cutting off the waistbands, cuffs, and other finishing elements. In this sense, each quilt is a distillation of the randomness of these clothing lots, and each portrait a Golem of sorts, made from something that has existed before and into which he has breathed new life.
Haynes reveals much of his life on social media. His focus on self is not selfish, but rather an experiential exploration that he invites everyone to join. Much of his quilt work responds to this sense of seeking as well: introspective self-portraits that posit him in various stages of thought, attitude, and action. For this project, he was interested in projecting his self-image on a background structured in squares. The foreground is dominated by large squares that are placed on point and constructed in multiple frames around a central square mimicking the traditional log cabin block. The background is a grid of smaller squares that recedes in muted tones graduating from bold blues to pale pinks and lavenders. His face is photographic and strongly textured by the weave of the fabrics used, the body subsumed into and emerging from the background through color shifts. The anamorphic perspective of the self-portrait literally puts Haynes "out there," staring at each visitor as he or she walks by.
Stacy C. Hollander, "[Self–Portrait #7] Over Here, 2013" exhibition copy for American Perspectives: Stories from the American Folk Art Museum Collection. Stacy C. Hollander, curator. New York: American Folk Art Museum, 2020.
Object information is a work in progress and may be updated with new research. Records are reviewed and revised, and the American Folk Art Museum welcomes additional information.
To help improve this record, please email photoservices@folkartmuseum.org