When Joseph-Marie Jacquard developed a revolutionary weaving apparatus back in 1801, he wasn’t exactly met with applause.  Legend has it that a throng of jealous competitors attempted to destroy his loom when it was first exhibited in Paris.  Two hundred years later, Jacquard’s invention has become a catalyst for an exciting new movement of tapestry production.  Blending traditional technique with 21^st Century technology, an elite list of America’s finest artists have ventured into uncharted creative realms.  Tomorrow Sullivan Goss officially enters the big time as it presents the world’s first comprehensive display of these groundbreaking works.  It’s only fitting that this exhibit coincides with the opening of a majestic 4000 square foot gallery addition.     

            The effect upon viewing the tapestries for the first time is nothing short of astonishing.  The shear size (some almost ten feet in height or width), fine fabric and masterful precision make the images leap off the wall.  Chuck Close is a natural for this exhibit having pushed the boundaries of printmaking over the last 30 years.  His portrait of Philip Glass is painfully human with lonely eyes, wrinkles and stubble exposing a tormented soul.  Close also contributes his first self-portrait which was yet to be unveiled as this story went to print.   

            Exemplifying the beauty of simplicity, realist Alan Magee offers four of his glorious creations.  The most striking of the bunch is “Little Fugue” which gives life to a cluster of smooth river rocks.  Magee’s “Gideon & Auerbach” also provides a certain comfort as its weathered brushes beg the wonder of what they’ve been painting.  Thanks to a remarkable eye for earthen hues, ordinary objects transcend into the profound, especially layered on top of scrawled philosophical musings. 

            Donald Farnsworth and John Nava are the geniuses we have to thank for bringing this thrilling new medium to life.  In 1999 the two joined forces pioneering advanced computer technology as a means of translating original compositions into tapestries.  Both make spectacular contributions to the exhibit.  Nava, who studied at UCSB, offers an “Artist’s Model,” embracing the digital charm, giving the subject an almost ghostly surrealism.  Along with his partner/wife, Era, Farnsworth pours environmental passion into “Amiens Reflection III” and “Forum Pine.” Focused on capturing the essence of a single tree, the complexity of their work involves the use of traditional Japanese paper, intaglio printing and water coloring.  Witnessing the compatibility of these techniques with the Jacquard tapestries speaks volumes on the potential of this new approach. 

            Hung Liu stands out from the pack as usual with her two pieces, “Golden Glyph” and “Profile II.”  In the former, she captures hopeful determination through the piercing glare of Chinese female empowerment.  The flower overlays provide a sacred calm while her signature drippings seem to protect the subject behind a shield of intense energy.  Flying one layer above is a fleet of animal figures, relishing their spaciousness as much as the artist.  Liu is one of twenty virtuosos featured in this not-to-be-missed exhibit.