Items where Subject is "Craft"

In 2015 Ellison was invited by fashion brand owner ‘Cherchbi’ Adam Atkinson to publish a book about Herdwick wool a raw material of the rug sacks Cherchbi produced.

The subsequent book, Herdwick Common was published under the brand publishing imprint, as a 98-page photo book with accompanying essay from acclaimed author, James Rebanks,
(The Shepherd's Life: A Tale of the Lake District). When reading into Herdwick sheep, something I discovered was ‘heft’ - A place where the sheep were rooted to by birth and returned to instinctively. This is something author James Rebanks has written about in his publication ‘A Shepherds Life’ a retelling of life spent as a farmer near Penrith. His book content and title inspired by W.H. Hudson ‘A Shepherds Life’ tells a passionate account of the up and downs of growing up as a farmer.

Research Imperatives

Ellison explores the cultural and symbolic significance of sheep on the region of Cumbria. The oldest reference to sheep kept in the Lake District is in documents dating from the 13th Century when the Cistercian monks of Furness Abbey near Barrow and Fountains Abbey near York farmed large areas. The documents simply make reference to the use of the short, coarse hair of the sheep for their habits. There is no mention of Herdwick although short, coarse hair may be a clue to one of the characteristics of an early hill breed.

Ellison began by researching the name ‘Herdwick', thought to derive from Herdvyck, Norse for ‘sheep pasture’. This has led some to believe that the breed was, maybe, brought into the country in the 8th and 9th centuries by Norse invaders from what are modern Denmark, western Sweden and Norway. More likely though, they were named Herdwick simply because most Lake District farms had land for sheep and were referred to as ‘herdwicks’. So the sheep adopted their name from the farms. The breed seems to have changed somewhat over the past two centuries to what we accept today as the Herdwick. Drawings and prints from the 19th century seem to indicate a taller and less stocky version of what we have in the 21st
century.

The book brings together an essay by James Rebanks, a story told from within alongside of series of photographic portraits that tie together this ancient rural livelihood.

This research explores how blind and visually impaired (VI) people can engage with e-textiles in creative and tactile ways, by making interactive e-textile art pieces to tell their own stories. Touch, gestures used to interact with textiles and e-textiles, and association of meaning with objects are central concerns of the work, in the context of how different materials can evoke and be used in self-expression. The research focuses on how VI participants can design and make their own e-textile objects, bringing in ideas of empowerment and agency, and drawing attention to what characterises an effective ‘participatory making’ environment.
Three studies are reported. The first study observed practices at two schools for blind and VI children/young people to establish how ‘objects of reference’ are used within the classroom environment, and what other sensory stimulation is important. The second study involved two series of hands-on e- textile making workshops, at a charity for VI people, and at a contemporary art gallery, to explore how visually impaired participants can design and make personal e-textile objects. The third, a laboratory study, investigated what associations and gestures visually impaired participants used with e-textile sensors that had different textures and functioned in different ways. The research explored the potential of participatory making of e-textiles in terms of touch, personal association, accessibility, and creativity.
The research identifies some effective practices for participatory making of e-textiles with visually impaired people, including a modular approach to circuit-making. It highlights the importance of ownership of the process for the participants. It demonstrates that, although there is ‘no common language of gesture’ for touch-based interaction with e-textiles, conventions can be established through example or consistent use. It outlines the ‘lessons learned’ in working with blind and visually impaired people, which can inform other researchers, designers, or artists interested in participatory making.

In the year which marked the centenary of the start of the First World War, a series of creative projects in Bristol considered past, contemporary and continuing conflicts. A unique record of these exhibitions and events has now been captured for this book.

Under the generic title Back From the Front: Art, Memory and the Aftermath of War the projects consisted of five overlapping exhibitions staged at the Royal West of England Academy in Bristol, UK - a curated show of work by John and Paul Nash; a unique gathering of work by contemporary artists examining war and peace under the title Shock and Awe: Contemporary Artists at War and Peace, and a sequence of exhibitions united under the word Re-membering, which were a series of commissions funded by the Arts Council England and co-ordinated by the Bristol Cultural Development Partnership and Bristol 2014. A fifth exhibition The Death of Nature gave a showcase to the recent paintings of Michael Porter RWA.

The 1940s were an iconic period of women's dress history, with the familiar square shoulders, crepe tea dresses and seamed stockings paired with red lips, victory curls and head scarves. This book explains the period's sewing techniques and makes a range of 1940s outfits to recreate the look of those vintage years. With detailed step-by-step instruction and over 300 photographs, it captures the style of the time and explains the impact of wartime austerity on the cut and construction of women's dress.

The scale and pace of hand-stitching match those of the body, grounding cognitive and emotional experiences of solitude or sociality in a tangible process. The hand–eye–mind coordination required cultivates a distinc- tive form of attention to the self. On the one hand, as a private, contemplative activity, the slow rhythms of hand-stitching allow an individual to carve out time and space for introspective reflection. A collective stitching practice on the other hand, with fragmented tasks of short duration and frequent changes of colour, structures a very different space. In this article I draw on my experiences of joining an embroidery group to explore the simultaneity of social, cultural and physical processes in stitching practices, speech patterns and group dynamics. Finding that embodied knowledge of the craft includes patterns of social and physical interaction – or separation, I propose that hand-stitching practices can suggest alternative ways of thinking about how we create and occupy personal and social spaces.

Site-specific, collectively made textiles are particularly effective producers of histories that entwine place and people. More than simply a means to an end, the process of making together foregrounds the potential of textiles to transform and be transformed beyond their materiality. The material making process mirrors another kind of making process: that of a certain kind of social integration or a sense of being and belonging somewhere, however temporary and changeable these may be. Once completed, however, these material artifacts can provoke difficult questions concerning the responsibility for their storage and display, succumbing to a fate in semi-permanent storage and eventually relinquishing their material presence to a form of visual or textual representation. Although this is not the fate of all collectively made textile works, given the widespread practice of collective textile-making, it is inevitably the fate of some. Using the example of a collectively made hooked rug project that I coordinated and participated in 15 years ago, I will explore in this article the transformed status of collectively made textile artifacts through memories of making in order to open up new understandings of these types of site-specific collective textile- making projects as a different kind of creative practice: as a narrative performance of experiences of being together.

This paper discusses making with others as a means of researching the experience of making, with a particular focus on textiles. Group textile craft activities are widespread today; however, there are few documented examples of research by craft practitioners taking place in this context. The activities used by the authors, relating to stitching and knitting, demonstrate that ‘making with others’ is a highly versatile approach that can be adapted according to the variables presented by diverse research aims and questions. Shercliff ’s research is explored in detail as a case study, with three group making activities documented and evaluated. These examples are used to identify a number of attributes, which support the comparison and development of research-led participatory textile making activities. The strengths and challenges of these methods are discussed: a key strength is the gathering of rich data during creative activity, while a central challenge is the performance of multiple roles by the practitioner-researcher.

This article, written by the coordinators of the Stitching Together network, introduces a diverse range of case studies that critically discuss participatory textile making activities, complementing a first collection of case studies that was provided in the previous volume of this journal. Drawing on a recent network event and the case studies included in this issue, the article outlines a number of ethical dimensions that arise in participatory textile making activities: first, the challenge of inclusivity; second, the vulnerabilities that arise when space is made for shared learning; third, the issue of communication between facilitators, participants and partners in collaborative projects; and fourth, the ways in which projects and participants are (re)presented in research findings. The theme of innovation is also discussed, with a focus on the participant experience. Looking to the future, the need for further collaborative interrogation of the complex questions raised through participatory textile work is highlighted. A good practice document, created with the input of network members, is highlighted as a potentially useful foundation for critical discussion.

Arising from a recently formed research network, Stitching Together, this article introduces a collection of case studies that critically examine participatory textile making as an emerging methodological approach to research. The twenty-first century resurgence of interest in textile processes such as knitting, sewing and weaving, whether as individual practice or community- based initiative, builds on a long and culturally diverse history of collaborative textile-making activity. This resurgence, combined with the familiarity, accessibility and flexibility of textile practices, has influenced a recent growth in the use of such activities as a means of inquiry within diverse research contexts.

The article considers the ways in which collective textile making projects privilege social encounter as a format for learning skills, creating friendships and consolidating shared interests. It goes on to discuss how researchers are drawing on these characteristics when devising new projects, highlighting the quality of experience afforded by textile making, the diverse forms of data generated and the variety of ways in which these participatory activities can be set up. Recognising that this research approach is far from straightforward, three key methodological themes are then considered: the multifaceted nature of the researcher’s role and the complexities of relationships with participants and other stakeholders; the difficulties that can arise when using such familiar textile processes; and the opportunities, and complexities, of co-producing knowledge with participants through collaborative textile activity.