Myrle Borine

Repeated use of a shape, color, or other art element or design in a work can help unify different parts into a whole. The repetition might be limited to only an instance or two: not enough to create a pattern or rhythm, but enough to cause a visual echo and reinforce  or accent certain aspects of the work.

Repeating art elements in regular or cyclical fashion to create interest, movement, harmony and unity holds great appeal for the viewer. Rhythms can be random, regular, alternating, flowing or progressive and include mosaics, lattices, spirals, meanders, waves, symmetry and fractals, as seen in Myrle's hooded bodice beading.

This Peyote stitch pattern on metal frame vessel  was chosen by juror  Bruce W. Pepich Executive Director  of the Racine Art Museum for the Wayne Art Center 2009 Craft Forms Exhibition. The form measures 15" high x 11"wide x 11" deep One day Myrle saw a form similar to this and  decided she wanted to bead something with that same shape.  So she drew up what she wanted and a friend of hers  welded it together for her... Then she went to town! All pattern artists have one thing in common – they all use patterns in their art. The medium or technique is not important as long as someone employs a combination of elements or shapes repeated in a recurring and regular arrangement. When it comes to art, patterns have been used from ancient times. They exist in nature; the repeating units of shape and form can be identified in the world that surrounds us.

The Japanese kimono is one of the world's instantly  recognizable traditional garments.  The word kimono literally means "clothing" and up until the mid 19th century  it was the form of dress worn by everyone in Japan. Myrle's large kimonos are about 22"wide  x 30" high while her smaller ones are 8"wide x 10" high.  When she was just beginning to bead, Myrle visited a museum  and saw a piece of material from an old tomb displayed between  two pieces of glass. It set her to thinking...  what a good way to show both sides of a flat piece!   So she immediately proceeded to display her small one-sided   kimonos between two pieces of Plexiglas.  This means of display wasn't well suited to many exhibitions  so Myrle went to free-standing, clear Lucite stands.  With her new kimono stands, she was able to actually make  more realistic beaded kimonos with both fronts and backs.  Myrle never nam