Sukkah for Scottish Harvest (above)
Raw Highland Sheep’s Wool, Twine
Dimensions Variable
2019

Rounds (below)
Raw Highland Sheep’s Wool, Twine, Polypropylene Bale Bags, Yarn, Steel Rings
Dimensions Variable
2019

Ein Sof (Unending)
Copper Wire Links, Steel, Plastic-Coated Copper Wire
Dimensions Variable
2019

Hands for Four in One
Aluminium Plates
Dimensions Variable
2019

Sukkah for Scottish Harvest
Raw Highland Sheep’s Wool, Twine
Dimensions Variable
2019

Emily Chudnovsky

Emily Chudnovsky is a Canadian artist currently based in Glasgow. She holds an undergraduate combined honours degree from the University of Kings College in Contemporary Studies and Gender and Women’s Studies. Chudnovsky is a recipient of the Gilbert Bayes Scholarship Award. Recent residencies include the inaugural MFA Residency at the GSA Highlands and Islands Campus in Forres, Scotland. Recent exhibitions include SOVA So Far (Yukon Arts Centre, Whitehorse CA), Last Futures (Tramway, Glasgow), and Skip Ad; Play (The Savoy Centre, Glasgow).

Emily Chudnovsky plays with patterns and cycles adapted from craft and other textile and metal traditions. Her practice prioritizes repetitive and often laborious making processes in order to think-through making. Her research consists of posing questions about our preparedness for collective open-ended future(s). With this in mind, she experiments with the tension between fine art and craft by taking traditional skills from her current context and placing them in new contexts that can at times seem far from their origins in order to draw unlikely connections. Her recent work brings out the universal elements of Ashkenazi Jewish practices and Scottish agricultural and rural references. Chudnovsky seeks to discover where they overlap in surprising moments, such as the significance of circles in the ancient Jewish mystical tradition of Kabbalah, and in the standing stones and vernacular architecture of Scotland. Both of these worlds are explored through Chudnovsky’s degree show installation, wherein she employed the process of wet felting, as well as weaving with metal rings cut one-by-one from a bespoke jig. Chudnovsky’s practice continues to question and re-imagine how the making process itself is still relevant within this moment of incredible cultural and environmental complexity.