{"id":94,"count":9,"description":"Hands Working <\/em> shows my connection to a lineage of domestic and craft-based skills and practices. The works here, as well as in my other themes, employ textile-making techniques of weaving, spinning and knotting in service of my art making. They also evoke the traditions of storytelling, classical mythology and social commentary.\r\n\r\nI see women as the invisible glue of community \u2013 like a wise old woman who sits quietly, her hands always busy, knitting or weaving, as the world rushes around her. It is her touch and caring for family, friends and the world that holds everything together, keeps it from flying apart.\r\n\r\nSo much is about hands. Hands are my feeling, touching brain. When they reach out, they know something; I have to pay attention. It is as if my hands need to be making things.\r\n\r\nThe works in this theme highlight historical references to the roles and power of women\u2019s work. In Cette nuit, d\u00e9faire<\/em> and Au rythme de P\u00e9n\u00e9lope\/Penelope Speaks<\/em>, I shift the focus in James Joyce\u2019s, Ulysses<\/em> to the mythical figure of Ulysses\u2019 wife, Penelope. In the sculpture, The Three Fates<\/em>, the Greek myth of the Moirai, or Three Fates are referenced directly. The textile metaphors of this myth used to describe the cycle of life can be found in many of my works: Clotho the spinner, represents youth and spins life out of chaos; Lachesis is the weaver making the cloth she measures out adult life; Atropos, the cutter is the old woman responsible for ending life (everything is \u201cheld by a thread\u201d and Atropos has the scissors). While, in works such as In Fire and In Water<\/em> and La mar\u00e9e monte \/ Rising Tide<\/em>, I assume the role of an Oracle; the figures in these works suggest both a strength and fragility that warn of the looming effects of climate change.\r\n

Karen Trask in collaboration with Don Goodes, 2025<\/span>\r\n\r\n

===<\/p>\r\n\r\n\r\n\r\n\u00a0<\/strong>Mains \u00e0 l\u2019ouvrage <\/em>montre mon lien avec une lign\u00e9e de comp\u00e9tences et de pratiques domestiques et artisanales. Les \u0153uvres de ce th\u00e8me \u2013 comme dans mes autres th\u00e8mes \u2013 utilisent des techniques de fabrication textile, de tissage, de filage et de nouage au service de ma d\u00e9marche artistique. Elles \u00e9voquent aussi les traditions du conte, de la mythologie classique et du commentaire social.\r\n\r\nJe per\u00e7ois les femmes comme la \u00ab\u00a0colle invisible\u00a0\u00bb de la communaut\u00e9 \u2013 comme une vieille femme sage qui reste assise tranquillement, les mains toujours occup\u00e9es \u00e0 tricoter ou \u00e0 tisser, pendant que le monde s\u2019agite autour d\u2019elle. C\u2019est son toucher ainsi que son soin pour la famille, les amis et le monde, qui maintiennent tout en place, emp\u00eachant tout de se d\u00e9sagr\u00e9ger.\r\n\r\nTant de choses sont li\u00e9es aux mains. Mes mains sont mon cerveau sensible, tactile. Quand elles se dirigent vers quelque chose, c\u2019est qu\u2019elles savent quelque chose, et je dois y pr\u00eater attention. C\u2019est comme si mes mains avaient besoin<\/em> de cr\u00e9er.\r\n\r\nLes \u0153uvres de ce th\u00e8me soulignent les r\u00e9f\u00e9rences historiques au r\u00f4le et au pouvoir du travail des femmes. Dans Cette nuit, d\u00e9faire <\/em>et Au rythme de P\u00e9n\u00e9lope\/Penelope Speaks<\/em>, je d\u00e9place le centre d\u2019int\u00e9r\u00eat de l\u2019Ulysse<\/em> de James\u00a0Joyce vers la figure mythique de l\u2019\u00e9pouse d\u2019Ulysse, P\u00e9n\u00e9lope. La sculpture The Three Fates<\/em> fait directement r\u00e9f\u00e9rence au mythe grec des Moires<\/a>, ou trois destin\u00e9es. Les m\u00e9taphores textiles de ce mythe, qui d\u00e9crivent le cycle de la vie, sont pr\u00e9sentes dans plusieurs de mes \u0153uvres\u00a0: Clotho<\/a>, la fileuse, repr\u00e9sente la jeunesse et file la vie \u00e0 partir du chaos; Lach\u00e9sis est la tisserande qui fa\u00e7onne le tissu et mesure la vie adulte; Atropos, la coupeuse, est la vieille femme qui met fin \u00e0 la vie (tout est \u00ab\u00a0suspendu \u00e0 un fil\u00a0\u00bb et Atropos a les ciseaux). Dans des \u0153uvres telles que In Fire and In Water<\/em> et La mar\u00e9e monte \/ Rising Tide<\/em>, j\u2019assume le r\u00f4le d\u2019un oracle; les figures de ces \u0153uvres sugg\u00e8rent \u00e0 la fois une force et une fragilit\u00e9 qui mettent en garde contre les effets imminents du changement climatique.\r\n\r\n

Traduction: M\u00e9lissa Guay<\/p>","link":"https:\/\/guz.ca\/aopa-karentrask\/awtheme\/hands-working\/","name":"Hands working \u2013 Mains \u00e0 l\u2019ouvrage","slug":"hands-working","taxonomy":"awtheme","parent":0,"meta":{"order":8},"acf":[],"yoast_head":"\nHands working \u2013 Mains \u00e0 l\u2019ouvrage Archives - Karen Trask<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/guz.ca\/aopa-karentrask\/awtheme\/hands-working\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Hands working \u2013 Mains \u00e0 l\u2019ouvrage Archives - Karen Trask\" \/>\n<meta property=\"og:description\" content=\"Hands Working shows my connection to a lineage of domestic and craft-based skills and practices. The works here, as well as in my other themes, employ textile-making techniques of weaving, spinning and knotting in service of my art making. They also evoke the traditions of storytelling, classical mythology and social commentary. I see women as the invisible glue of community \u2013 like a wise old woman who sits quietly, her hands always busy, knitting or weaving, as the world rushes around her. It is her touch and caring for family, friends and the world that holds everything together, keeps it from flying apart. So much is about hands. Hands are my feeling, touching brain. When they reach out, they know something; I have to pay attention. It is as if my hands need to be making things. The works in this theme highlight historical references to the roles and power of women\u2019s work. In Cette nuit, d\u00e9faire and Au rythme de P\u00e9n\u00e9lope\/Penelope Speaks, I shift the focus in James Joyce\u2019s, Ulysses to the mythical figure of Ulysses\u2019 wife, Penelope. In the sculpture, The Three Fates, the Greek myth of the Moirai, or Three Fates are referenced directly. The textile metaphors of this myth used to describe the cycle of life can be found in many of my works: Clotho the spinner, represents youth and spins life out of chaos; Lachesis is the weaver making the cloth she measures out adult life; Atropos, the cutter is the old woman responsible for ending life (everything is \u201cheld by a thread\u201d and Atropos has the scissors). While, in works such as In Fire and In Water and La mar\u00e9e monte \/ Rising Tide, I assume the role of an Oracle; the figures in these works suggest both a strength and fragility that warn of the looming effects of climate change. Karen Trask in collaboration with Don Goodes, 2025 === \u00a0Mains \u00e0 l\u2019ouvrage montre mon lien avec une lign\u00e9e de comp\u00e9tences et de pratiques domestiques et artisanales. Les \u0153uvres de ce th\u00e8me \u2013 comme dans mes autres th\u00e8mes \u2013 utilisent des techniques de fabrication textile, de tissage, de filage et de nouage au service de ma d\u00e9marche artistique. Elles \u00e9voquent aussi les traditions du conte, de la mythologie classique et du commentaire social. Je per\u00e7ois les femmes comme la \u00ab\u00a0colle invisible\u00a0\u00bb de la communaut\u00e9 \u2013 comme une vieille femme sage qui reste assise tranquillement, les mains toujours occup\u00e9es \u00e0 tricoter ou \u00e0 tisser, pendant que le monde s\u2019agite autour d\u2019elle. C\u2019est son toucher ainsi que son soin pour la famille, les amis et le monde, qui maintiennent tout en place, emp\u00eachant tout de se d\u00e9sagr\u00e9ger. Tant de choses sont li\u00e9es aux mains. Mes mains sont mon cerveau sensible, tactile. Quand elles se dirigent vers quelque chose, c\u2019est qu\u2019elles savent quelque chose, et je dois y pr\u00eater attention. C\u2019est comme si mes mains avaient besoin de cr\u00e9er. Les \u0153uvres de ce th\u00e8me soulignent les r\u00e9f\u00e9rences historiques au r\u00f4le et au pouvoir du travail des femmes. Dans Cette nuit, d\u00e9faire et Au rythme de P\u00e9n\u00e9lope\/Penelope Speaks, je d\u00e9place le centre d\u2019int\u00e9r\u00eat de l\u2019Ulysse de James\u00a0Joyce vers la figure mythique de l\u2019\u00e9pouse d\u2019Ulysse, P\u00e9n\u00e9lope. La sculpture The Three Fates fait directement r\u00e9f\u00e9rence au mythe grec des Moires, ou trois destin\u00e9es. Les m\u00e9taphores textiles de ce mythe, qui d\u00e9crivent le cycle de la vie, sont pr\u00e9sentes dans plusieurs de mes \u0153uvres\u00a0: Clotho, la fileuse, repr\u00e9sente la jeunesse et file la vie \u00e0 partir du chaos; Lach\u00e9sis est la tisserande qui fa\u00e7onne le tissu et mesure la vie adulte; Atropos, la coupeuse, est la vieille femme qui met fin \u00e0 la vie (tout est \u00ab\u00a0suspendu \u00e0 un fil\u00a0\u00bb et Atropos a les ciseaux). Dans des \u0153uvres telles que In Fire and In Water et La mar\u00e9e monte \/ Rising Tide, j\u2019assume le r\u00f4le d\u2019un oracle; les figures de ces \u0153uvres sugg\u00e8rent \u00e0 la fois une force et une fragilit\u00e9 qui mettent en garde contre les effets imminents du changement climatique. Traduction: M\u00e9lissa Guay\" \/>\n<meta property=\"og:url\" content=\"https:\/\/guz.ca\/aopa-karentrask\/awtheme\/hands-working\/\" \/>\n<meta property=\"og:site_name\" content=\"Karen Trask\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"CollectionPage\",\"@id\":\"https:\\\/\\\/guz.ca\\\/aopa-karentrask\\\/awtheme\\\/hands-working\\\/\",\"url\":\"https:\\\/\\\/guz.ca\\\/aopa-karentrask\\\/awtheme\\\/hands-working\\\/\",\"name\":\"Hands working \u2013 Mains \u00e0 l\u2019ouvrage Archives - Karen Trask\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/guz.ca\\\/aopa-karentrask\\\/#website\"},\"breadcrumb\":{\"@id\":\"https:\\\/\\\/guz.ca\\\/aopa-karentrask\\\/awtheme\\\/hands-working\\\/#breadcrumb\"},\"inLanguage\":\"en-US\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/guz.ca\\\/aopa-karentrask\\\/awtheme\\\/hands-working\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/guz.ca\\\/aopa-karentrask\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Hands working \u2013 Mains \u00e0 l\u2019ouvrage\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/guz.ca\\\/aopa-karentrask\\\/#website\",\"url\":\"https:\\\/\\\/guz.ca\\\/aopa-karentrask\\\/\",\"name\":\"Karen Trask\",\"description\":\"Official Artist Site\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/guz.ca\\\/aopa-karentrask\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Hands working \u2013 Mains \u00e0 l\u2019ouvrage Archives - Karen Trask","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/guz.ca\/aopa-karentrask\/awtheme\/hands-working\/","og_locale":"en_US","og_type":"article","og_title":"Hands working \u2013 Mains \u00e0 l\u2019ouvrage Archives - Karen Trask","og_description":"Hands Working shows my connection to a lineage of domestic and craft-based skills and practices. The works here, as well as in my other themes, employ textile-making techniques of weaving, spinning and knotting in service of my art making. They also evoke the traditions of storytelling, classical mythology and social commentary. I see women as the invisible glue of community \u2013 like a wise old woman who sits quietly, her hands always busy, knitting or weaving, as the world rushes around her. It is her touch and caring for family, friends and the world that holds everything together, keeps it from flying apart. So much is about hands. Hands are my feeling, touching brain. When they reach out, they know something; I have to pay attention. It is as if my hands need to be making things. The works in this theme highlight historical references to the roles and power of women\u2019s work. In Cette nuit, d\u00e9faire and Au rythme de P\u00e9n\u00e9lope\/Penelope Speaks, I shift the focus in James Joyce\u2019s, Ulysses to the mythical figure of Ulysses\u2019 wife, Penelope. In the sculpture, The Three Fates, the Greek myth of the Moirai, or Three Fates are referenced directly. The textile metaphors of this myth used to describe the cycle of life can be found in many of my works: Clotho the spinner, represents youth and spins life out of chaos; Lachesis is the weaver making the cloth she measures out adult life; Atropos, the cutter is the old woman responsible for ending life (everything is \u201cheld by a thread\u201d and Atropos has the scissors). While, in works such as In Fire and In Water and La mar\u00e9e monte \/ Rising Tide, I assume the role of an Oracle; the figures in these works suggest both a strength and fragility that warn of the looming effects of climate change. Karen Trask in collaboration with Don Goodes, 2025 === \u00a0Mains \u00e0 l\u2019ouvrage montre mon lien avec une lign\u00e9e de comp\u00e9tences et de pratiques domestiques et artisanales. Les \u0153uvres de ce th\u00e8me \u2013 comme dans mes autres th\u00e8mes \u2013 utilisent des techniques de fabrication textile, de tissage, de filage et de nouage au service de ma d\u00e9marche artistique. Elles \u00e9voquent aussi les traditions du conte, de la mythologie classique et du commentaire social. Je per\u00e7ois les femmes comme la \u00ab\u00a0colle invisible\u00a0\u00bb de la communaut\u00e9 \u2013 comme une vieille femme sage qui reste assise tranquillement, les mains toujours occup\u00e9es \u00e0 tricoter ou \u00e0 tisser, pendant que le monde s\u2019agite autour d\u2019elle. C\u2019est son toucher ainsi que son soin pour la famille, les amis et le monde, qui maintiennent tout en place, emp\u00eachant tout de se d\u00e9sagr\u00e9ger. Tant de choses sont li\u00e9es aux mains. Mes mains sont mon cerveau sensible, tactile. Quand elles se dirigent vers quelque chose, c\u2019est qu\u2019elles savent quelque chose, et je dois y pr\u00eater attention. C\u2019est comme si mes mains avaient besoin de cr\u00e9er. Les \u0153uvres de ce th\u00e8me soulignent les r\u00e9f\u00e9rences historiques au r\u00f4le et au pouvoir du travail des femmes. Dans Cette nuit, d\u00e9faire et Au rythme de P\u00e9n\u00e9lope\/Penelope Speaks, je d\u00e9place le centre d\u2019int\u00e9r\u00eat de l\u2019Ulysse de James\u00a0Joyce vers la figure mythique de l\u2019\u00e9pouse d\u2019Ulysse, P\u00e9n\u00e9lope. La sculpture The Three Fates fait directement r\u00e9f\u00e9rence au mythe grec des Moires, ou trois destin\u00e9es. Les m\u00e9taphores textiles de ce mythe, qui d\u00e9crivent le cycle de la vie, sont pr\u00e9sentes dans plusieurs de mes \u0153uvres\u00a0: Clotho, la fileuse, repr\u00e9sente la jeunesse et file la vie \u00e0 partir du chaos; Lach\u00e9sis est la tisserande qui fa\u00e7onne le tissu et mesure la vie adulte; Atropos, la coupeuse, est la vieille femme qui met fin \u00e0 la vie (tout est \u00ab\u00a0suspendu \u00e0 un fil\u00a0\u00bb et Atropos a les ciseaux). Dans des \u0153uvres telles que In Fire and In Water et La mar\u00e9e monte \/ Rising Tide, j\u2019assume le r\u00f4le d\u2019un oracle; les figures de ces \u0153uvres sugg\u00e8rent \u00e0 la fois une force et une fragilit\u00e9 qui mettent en garde contre les effets imminents du changement climatique. 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