Caro Pattle
Caro Pattle is curious about how we interact with the world via materiality, creating vibrant velvet sculptures that are the result of a generous conversation between the artist and her medium.
Words: Cardia Speziale I Photography: Caro Pattle & Pier Carthew
‘It feels quite surreal seeing a piece you’ve worked on for so long in the studio transplanted into a gallery space and I definitely felt some separation anxiety to begin with. This has been assuaged though by seeing people engage with the work and it’s been lovely to receive a lot of support from people who enjoy the piece.’ Photo: Caro Pattle
Honey Amphora by Caro Pattle. Photo: Caro Pattle
‘Velvet is the perfect textile for creating work that gives as much agency as possible to the material as it is quite dominant within a space,’ says Caro Pattle. Photo: Courtesy of Caro Pattle
Using a process of time-intensive coil-weaving and knotting methods to create sculptural vessels and organic forms, Caro Pattle’s designs are an invitation to interact with the world via physical materials.
Working predominately with premium stretch velvet because of its ‘seductive presence’, and ability to absorb light and sound, Caro’s exploration of the singular medium over the course of the last year or so is a testament to the in-depth dialogue occurring between the artist and her medium. ‘Ideally, I want my work to be like a conversation between the material and I where we’re both a bit surprised by the outcome, so I’ll experiment with multiple techniques and refinements before starting a piece,’ she says.
Drawn to richly textured surfaces with a sense of movement and life, Caro’s process seeks to give as much agency as possible to the fabric and consider how the form of the final outcome can ‘act as a sort of recording of all the physical movements required to create the work.’ Once complete, the dense, soft and flowing surfaces encourage the viewer’s eye to travel across the piece, rather than resting on one detail.
Growing up surrounded by weavers, knitters and rug-makers, Caro credits her natural gravitation toward fabric to the textile artisans of her younger years, as well as a natural curiosity about the material world.
‘As a child, I remember picking all the flowers in the garden and grinding them into a pulp to see what it looked like, or eating fistfuls of dirt to see what it tasted like. These aren’t unusual childhood experiments, but I would say that perhaps I haven’t grown out of them, and that my practice is still an exploration of the world and our place in it.’ In this sense, the art embodies an unassuming element of cultural and environmental examination; ‘particularly now that we’ve reached the pivotal point of the Anthropocene Epoch,’ muses Caro, ‘and as our cultural artefacts are ubiquitously embedded in the so-called natural world, it’s interesting to think of material as a flashpoint for rethinking worldviews where nature and culture are seen as distinct domains.’
Soft Rock by Caro Pattle. Photo: Pier Carthew
‘I love people who march to the beat of their own drum, and I try to keep this ethos at the centre of my practice, developing work that I want to create rather than being concerned about where it might fit into a career or the wider industry.’ Photo: Caro Pattle
“My biggest sense of satisfaction is always in the creation of work that I find interesting and that adds to my practice.”
Home Run by Caro Pattle. Photo: Pier Carthew
‘I have to admit that I’ve never been much of a long-term planner, and I’ve just worked really hard at my interests and passions and seen where they’ve led me,’ says Caro Pattle. Photo: Caro Pattle
A collection of Caro’s work is currently on display as part of Melbourne Now. The exhibition, titled Vessels, is co-curated with the National Gallery of Victoria and Craft Victoria, and features a 1.5 meter high sculpture that weighs 20kgs and is woven from approximately 50 meters of velvet. Reflecting on her process, Caro recalls how she had originally factored in one month but ended up weaving for two full months to complete the entire piece. ‘Luckily I had some very patient commission clients in the wings who understood the importance of the art show,’ she says.
Admitting she’s never been much of a long-term planner, Caro is looking forward to the months ahead with three yet-to-be announced group exhibitions planned for May, as well as carving out some time to create wall pieces using new techniques and materials with which she’s currently experimenting. ‘I think ideas of success are something that everyone needs to navigate,’ says Caro. ‘For me, that means focussing on what I enjoy best which is working with curiosity, experimentation, and creative freedom.’
Vessels will be showing as part of Melbourne Now until August 20.