Lame De Choc

June Wayne
120 x 78 in. (304.8 x 198.1 cm)
Tapestry. Cotton, wool, and wool with additional fibers
Edition No. 2/5 (two examples extant),1972

SELECTED EXHIBITIONS
MB Abram Galleries, 2017; Art Institute of Chicago, 2010; Neuberger Museum of Art, 1997 (illus.); Pomona College, 1978; Franco—American Institute, 1978; Van Doren Gallery 1976; Galerie La Demeure, 1974; Van Doren Gallery, 1974; Los Angeles Municipal Art Gallery, 1973 (illus.); Art Institute of Chicago, 2010; MB Abram Galleries, 2018

SELECTED LITERATURE
Noronha, 2001; Smith, 1976 (illus.); Kester, December 1974 (illus.); Jarry, May—August 1974 (illus.)

COMMENTS
This tapestry is based on the lithograph Shock Wave.
Wayne observed: "It's a marvelous tapestry. It has three horizon lines, marking three different points in time, as well as in space."

The passage of time is included as unavoidable in the event of a tidal wave and is also integral to the weaving process. As Bernard Kester wrote in The Djuna Set (1988):
She chose tapestry...because the element of time contained within the weaving process itself is cumulative, and remains implied in the result....The weaving of tapestry is intensive, rhythmical, and slow. In these characteristics, Wayne found a direct and appropriate way by which she could transmit to the viewer a sense of time passing that is internal to the process. She can lead the viewer beyond real time to read certain works at a quickened pace, or to perceive others in extended cosmic time. (Source: The Art of Everything, Robert Conway, 2007)