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Rachel Olin
Born 1988
Lives and works in Lincoln, UK
www.olinrachel.wix.com/rachelolin

A continuing theme in Rachel Olin’s practice is the use of textile as a
medium for sculpture and installation, challenging the traditional uses
of the material, whilst also exploring the ways in which the material can
be manipulated in order to express ideas. As an artist her works are
becoming larger and more ambitious in scale, with most pieces taking a
large amount of time to complete. The materials she uses are commonly
associated with traditional feminine craft and from the point of view of
a ‘maker’. However, Olin hopes to challenge gender stereotyping by
using the materials in contemporary ways. Olin’s work often draws from
her cultural interests in Icelandic landscapes, traditions, skills and folklore.
Folklore particularly interests Olin as it draws from an instinct to survive and
is often composed of light and dark themes.

Olin is interested in the way works of art are explored and understood
through the senses. Most of her works invite the viewer to touch, smell
and listen. Past pieces have explored the idea of sensory deprivation;
the reduction in sensory information in order to heighten the overall
experience of the art piece. Currently Olin specialises in wet felting
techniques and aims to introduce other techniques and materials such
as sound to alter the perceptions of those that view her work.
Roles within marriage and in wider society have been traditionally
dictated by gender; men rear the sheep while women spin and felt the
wool. Nauðsyn kennir nöktum konur að snúast is an exploration of the
traditions and perceptions of marriage through a monolithic textile and
metal construction. This show is the result of two binary notions that are
conjured when considering the idea of marriage; one of tradition, ruled by
gender specifi c restriction and one of union, companionship and mutual
support. ‘Nauðsyn kennir nöktum konur að snúast' specifi cally compares
the perceptions of marriage in British culture and Icelandic culture. The
title is taken from an old Icelandic proverb meaning 'Necessity teaches
naked women to spin'.

RACHEL OLIN received a BA (Hons) Education Studies and Art and Design from
Bishop Grosseteste University College, Lincoln (2012) and has since exhibited in a
number of group exhibitions including; We Don’t Know Either: Part Three, Sam Scorer
Gallery, Lincoln, UK, Derby City Open, Derby Art Gallery and Museum, Derby, UK
(2012), 12.12.12, The Collection, Lincoln, UK (2012), Monomania, Cupola Gallery,
Sheffi eld, UK (2013), The Button Project, Macclesfi eld Silk Museum, Macclesfi eld, UK
(2013), Recovery, Institute of Mental Health, City Arts, Nottingham, UK and Black Right: Three Hundred And Sixty Five Times One Point
Sheep, The Darker Side of Felt, The National Centre for Craft and Design, Sleaford, Five Equals Eight Thousand One Hundred And Ten (Thirty
UK (2014). Her fi rst Solo exhibition was Nauðsyn kennir nöktum konur að snúast, The Two Thousand Four Hundred And Forty), 2012, Calico.
Collection, Lincoln, UK (2013). h: 160cm w: 76cm d: 200cm, Artist’s Collection.

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