At the Citadel, thread, fabric, and paint on raw black canvas, 54" x 62", 2018

The Villa Rose, thread, fabric, and paint on raw black canvas, 56" x 42", 2018

The View from Qasioun, thread, fabric, and paint on raw black canvas, 56" x 70", 2018

The Fountain at Il Meshtel, thread, fabric, and paint on raw black canvas, 24" x 24", 2018

Plotting Chelsea, thread, paint and fabric on raw black canvas, 35" x 35", 2012

OSH, Brooklyn (Plot re-visualized), fabric, thread and paint on raw black canvas, 32" x 54", 2012

Governors Island Revisited, thread, paint and fabric on raw black canvas, 66" x 74", 2012

Plot 7, thread, paint and fabric on raw canvas, 56" x 54", 2011

Surrounding Dumbo, thread, fabric and paint on raw black canvas, 30" x 30", 2012

The Yankee Stadiums, thread, paint and fabric on raw black canvas, 56" x 64", 2011

The Grand Concourse (once removed), thread, paint and fabric on raw canvas, 56" x 62", 2011

Plot 5, thread, paint and fabric on raw canvas, 56" x 52", 2009

Plot 6, thread, paint and fabric on raw canvas, 60" x 54", 2009

Plot 12, thread, paint and fabric on raw canvas, 58" x 56", 2011

Plot 11, thread, paint and fabric on raw black canvas, 48" x 54", 2010

Plot 8, thread, paint and fabric on raw canvas, 58" x 54", 2009

Plot 4, thread, paint and fabric on raw black canvas, 56" x 54", 2008

Plot 3, thread, paint and fabric on raw canvas, 60" x 52", 2008

Lovestad, Sweden, fabric, thread and paper on chiffon, 26" x 28", 2010

Plot 9, fabric, thread and paint on raw canvas, 58" x 56", 2010

Plot 10, thread, paint and fabric on raw black canvas, 24” x 20”, 2010

Using a sewing machine, fabric and paint on raw canvas, and inspired by aerial view landscape drawings and maps, I invent 'plots' that are neither true abstractions, nor complete landscapes but navigate between interpretative poles. With a limited palette and through an improvisational approach, these works are large in scale and hint to an unfamiliar impossible space, a space that allows viewers to detach and contemplate their relationship to the external world. I seek to connect the dichotomy of the cold, analytical masculine subject with the appropriation of traditional feminine materials, adopting a sewing machine as a mechanically precise drawing tool.

The 4 recent works from 2018, are taken from my memory of visiting these particular places in Aleppo and Damascus in 2006 combined with imagining what they would look like today, after the destruction. 

In the series of stitched works from 2011-2012,  I was researching the evolution of urban landscapes and how it ties to memory, focusing on New York City’s topographical evolution. I’m interested in exploring how we define ourselves in relation to the built environment around us where buildings in the urban context interact with one another and allow individuals to create a narrative of who they are-past, present, and future. Our memory and identity are forever changed after buildings and monuments are destroyed through war, natural destruction, and urban planning. The subsequent rebuilding both “as it once was” as well as a complete modern reconstruction ultimately suppresses memory seemingly creating a sense of utopia. I use Google Earth and archival images to collect my data and use this information as a starting point to create this invented series of urban renewal projects. The works are done through improvisation pointing to a heterotopic, neither here nor there vision of New York; an unreality based on a utopian inspired ideal. 

© Christine Gedeon. All rights reserved. 

Plot 5, thread, paint and fabric on raw canvas, 56" x 52", 2009