"Peepholes"

An investigative exhibit by Aaron McIntosh

Aaron McIntosh had no idea while growing up in Kingsport, Tenn., there was such a rich history of “queer” physique magazines and romance novels. It was an exciting recent discovery for the enthusiastic fiber artist and also the inspiration for the ideas he has conceptualized for his latest series of work, “Peepholes,” which premiered at Fluorescent Gallery June 6 and 7 and later opens at the Birdhouse Gallery June 14 from 6 to 9 p.m.

McIntosh received his Bachelor of Fine Arts from the Appalachian Center for Craft in Smithville, Tenn., in 2006. He has since worked as a bookkeeper by day and artist by night while making plans  to attend graduate school. He says he needed the time to ensure he knew what he wanted from the institution where he would continue his education. He ultimately chose to attend Virginia Commonwealth University this fall, pursuing his Master of Arts in craft and materials study.

McIntosh grew up in a family of quilters. His grandmothers and a widowed grandfather practiced the craft. Sewing was also an interest for many in the family, and McIntosh started experimenting with making clothes on the family machine at an early age. As a recipient of the 2006 Wingate Fellowship award for pursuing studio work and academic research, McIntosh used the grant money to buy his own sewing and serger machines and travel to museums. The culmination of the grant-required project was “Targets,” an August 2007 exhibit show  at Gallery 1010, which researched unique intersections between cultural character and gender identity in fiber art.

The bulk of the “Peepholes” exhibit utilizes quilting as the main medium. The first series of quilts in the exhibit incorporate imagery from the early physique magazines. The second series is inspired by sociological ideas explored by John Ibson in his book Picturing Men: A Century of Male Relationships in Everyday American Photography.

When it comes to procuring material for his art, McIntosh is a serious second-hand store shopper. He says he favors thrift stores in small, remote towns, fascinated by the items society has chosen to throw away. He collects old sheets and uses them, stains and all, to form the grid work of his quilts,. For the series incorporating imagery from the magazines, he produced elegant line drawings on vellum of men in an occasionally erotic variety of underwear.

He used what he thinks might be plastic doily-making guides to partially veil the drawings from direct view. The lacy white plastic circles are inset in a tiled pattern on an off-white and pastel cotton quilt. Behind every “doily” is one of the drawings. The masked appearance references gay men hiding behind layers of deception to be accepted by a less than tolerant society.  The magazines themselves were deceptions; to the public, they were marketed merely as publications for men who liked to develop their bodies.

I was curious why McIntosh preferred the term “queer” instead of gay. I thought it might be because it was an archaic term that would fit the historical research concept of his current project. Though he says that idea fits, he actually likes the term because it is inclusive, adding that members of both sexes who identify as bi, transgender, gay or lesbian can take the term as their own and employ it in a positive manner.     

The second series of quilts in the exhibit incorporates two distinct layers of imagery to visualize what Ibson discussed in his book. Homophobia, he notes, has increased since the early 20th century and has changed male group behavior, relationships and body language. The backgrounds of the series consist of 19th century photographs of groups of men posing for stylized portraits, while the foreground is made of grids of
pages from romance novels. They are encased in frosted plastic on the front, with felt on the back. Holes are cut from the quilts to illuminate specific areas in each photograph that point to clues in the body language, accepted as normal in past eras but considered suspect today. Viewers can lift the quilts to see the photographs in their entirety.

One of the more compelling discussions that engage people working in fiber arts is the division between what can be defined as art or craft. There is one definition that states if an item is functional, it is craft. But that is too limiting -— art is hindered when given limitations. Traditional craft media and techniques — such as fabric, beads, glitter, knitting and embroidery — have all been heavily incorporated into the realm of fine art and have augmented it with a rich and tactile dimension. McIntosh is a perfect example of someone striving to work within and be accepted by both disciplines.

“Peepholes”
Opening reception Saturday, June 14 6-9 p.m.
The Birdhouse Gallery
(800 N. Fourth Ave.)