The architecture of a fibre is like that of the DNA this shows reflective and experiential process in tension,
Just produced a book which is an inspirational story of how creativity can help you rise above the everday problems of life. Attached is a picture of my front cover, my story is told through my hats. www.2QT.co.uk/blog or www.toneredgar.com go to the about page to purchase the book.
Temporary nets and networks – from a pavement and a drain grid / mesh (photographed in Colwyn Bay, Wales), through to flock of pigeons outside of Euston Station, London and then, finally, a tree decorated with mementos and remembrances at the stone circle ‘Long Meg and her Daughters’ in the Lake District. In Scotland, I think they are known as ‘Clootie Trees’
Safety Nets………..I was intrigued by the Norwegian government’s seed vault in Svalbard within the Arctic circle. This botanical safety net protects millions of seeds as a genetic resource.
Many people and organisations are striving to protect endangered habitats and species and it seemed appropriate in this, the year of biodiversity, to explore this theme.
These human safety nets have to be robust but they are also invisible…..how then to explore them through a textile medium?
At the moment I am working with ideas from drawn thread embroidery………….the drawn threads weaken the structure of the fabric(as we do when we destroy plant habitats) then we manipulate it. Beautiful heirloom samples show meticulous neatness and a new strength to the structure. The samples show a course diverse weave with hemp and wool, a rust stained and a leaf stamped organic cotton.
I am not sure where this is taking me yet but I am enjoying the journey.
In this piece I wanted to use the clear plastic to create some sort of a grid, or net.
I really like how the plastic captures and refracts light and casts shadows even though the light passes through it. The plastic was originally a case for a product, so I wanted to use it as a template for an architectural structure. But in order to do that, I needed to deconstruct the plastic, by cutting away pieces, and then reconstructing it by weaving the pieces into place. From that point, it really became about the process of putting it together, as it really demanded that it be done strategically, or it just kept falling apart and flopping over.
I chose to approach the concept of nets by experimenting with a technique I learnt in Canada as a child. I became interested in dreamcatchers, their history and the ways to weave them. I was reminded of this as we were learning netting techniques in class and realised that they weren’t very different from weaving dreamcatchers. I have been working with unconventional materials such as wire, CD’s, bracelets and crockery to impose a contemporary context to a traditional craft. My love for Native American culture fuelled my interest in dreamcatchers, and I aim to push the concept further to incorporate the idea of the ‘modern dream’; the supposed formula for a full and happy life in our society. I plan to do this by looking at weaving in objects that make up this formula – a house, car, money, and family etc. into the woven web of the dreamcatcher so that it acts as a net to catch these dreams. I plan to have a series of dreamcatchers made of different materials as mentioned, surrounded by some larger dreamcatchers holding these ‘modern dreams’.
Thematically I think about a net as a series of connections. In death, (with which I am preoccupied at present) the material connection with the deceased is cut. The link with the person who has died feels tenuous at best. Loose ends abound.
Rachel Bickovsky
I am trying to communicate the plight of the refugee by likening their situation to that of being lured into and entangled in a “net” of nefarious behaviour and political and bureaucratic policy in both their own and the country to which they escape.
I am using the mediums of both drawing and textiles on white muslin, while drawing on inspiration from work by child detainees. I chose muslin for its net-like quality. I am using grayish thread to convey the feeling of waves, pulling and entwining. The use of fishermen’s pants alludes to traditional culture, sea and boats
