Ian Berry, the U.K. artist known for transforming denim scraps into photorealistic pieces of art, is part of a new exhibit close to home.
Berry’s “Secret Garden,” an installation crafted entirely from recycled denim, is part of the Saatchi Gallery’s new exhibition called “Textile Art Redefined.” Open through May 10, it is the London-based gallery’s first group textile exhibition showcasing the work by 15 visionary artists from the U.K. and across the globe. Curated by Helen Adams and inspired by her book “Fine Art Textiles,” the exhibition celebrates the vibrancy of modern textile art and expands its very definition.
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The exhibition emphasizes how in an increasingly digital world, creating by hand has taken on a new appreciation. As the art landscape shifts, Berry says more textile art is being represented in public and commercial galleries, adding that Adams’ goal is for textile art to be fully recognized as fine art, without needing to be set apart or categorized differently.
“There is still a long way to go, but I like to think that exhibitions like this help move things forward, and I’m proud to be part of that momentum. And of course, showing this work at the Saatchi Gallery—legendary for its role in pioneering new art—is something I’m honored to be a part of,” he told SJ Denim.
Here’s what Berry shared about how the exhibition came to be and why denim continues to be his preferred medium.
SJ Denim: What does being a part of “Textile Art Redefined” mean to you at this stage in your career?
Ian Berry: It’s great to show at the Saatchi Gallery, a great London venue. I’ve had most of my shows in other countries so it’s nice to show in my hometown, but it’s extra special to be a part of something like this. I’ve had many solo shows in my life—and ‘solo’ is the word. I have often felt alone sometimes. It’s nice to show alongside others you admire. And I really do with these artists, and the curator Helen Adams has become a great friend.
It’s also an interesting question because in the early stage of my career I wouldn’t have called myself a textile artist, and now I would proudly. I felt more aligned with street art and urban art at the beginning, but it’s developed, not least because of the amazing people now making up the world of textile art and I feel a real community growing. When asked about it, I often just say I want to be called an artist. Normally I cringe when someone calls me a ‘denim artist,” but Ian Berry, textile artist…
SJ Denim: How do you think this exhibition challenges traditional definitions of textile art?
IB: There’s a common perception that textile art is limited to practices like knitting, embroidery or weaving. But because the field has long existed slightly under the radar, many artists have been free to develop innovative approaches—such as fabric manipulation or, in my case, fabric assemblage. “Textile Art Redefined” brings together artists working with a wide range of these techniques, and I felt it was a good platform to showcase my own work. The book, along with the show and 50 artists, really challenges old notions of what textile is. To show with people like Benjamin Shine, Anne von Freyburg and Magda Sayeg really pushes it and to be frank, [its] cool. As someone that works hard on each piece and honed my own craft, I used to feel that too was a dangerous word. But I’m proud of the craft that goes into the work.
SJ Denim: What drew you to participate in this show at the Saatchi Gallery?
IB: The book “Textile Fine Art” by Helen Adams came out and as we are friends we often spoke about putting together a show. Helen managed to get the Saatchi Gallery, which is not only a great venue in the London art world, but poignant for me. It’s a stone’s throw from where I had my first and last job in London on the Kings Road in Chelsea and in the industry that Charles Saatchi made his money—advertising. I remember going to the gallery in 2000 in London at County Hall and it was so inspiring so it’s great I am now showing there.
It was a no-brainer for me to be a part of it, and a main thing for me is to get to know the other artists, some who were already friends.
SJ Denim: What continues to inspire you to use denim?
IB: Since my work takes so long, I am still getting through ideas developed over many years. I’ve kept pushing it and learning new things, though I have developed a love/hate relationship with the material.
I do love the history of denim and that constantly inspired me, as well as some of the semiotics around the material. Also, as it’s the only material that fades in the way it does and I am drawn to indigo, I think I will be the denim guy for some time to come.
SJ Denim: You’ve showed “Secret Garden” in several countries. Why do you think this piece resonates with people?
IB: It really has developed since the first time I showed it in New York, and this one has been pushed even more, they are actual denim tiles! People think they are real tiles, even when up close.
As for why it resonates, I think it’s seeing things familiar made from a familiar fabric. Maybe they can see the labor involved in it and appreciate it for that and the countless details if you keep looking. But yes, it has seemed to resonate and that means me getting back up ladders!
SJ Denim: How do you see textile art evolving in the contemporary art world?
IB: I think it already has and has been for many years. I think it’s just wider and cooler. I never considered myself a textile artist in the beginning and struggled to label myself, but with that never felt constrained by any notions of what textile art is.
Also, many of the techniques and practices have history and traditions in all communities. During the Black Lives Matter movement, many of my favorite artists gained a lot of momentum, and I noticed through this movement and into the art world, it brought back great painting, especially portraiture, but also textile arts. I do think this has helped to raise the whole movement together, and while I never felt constrained by using denim, and being linked to textile art, it certainly seems to be a good place to be.
