The stitch project

Traces of diapraxis and al masha within participatory textile projects




participatory art, embroidery, textile, al masha, diapraxis


In this article, I shall discuss participation – the artist's role and responsibility in participation, and the potentials of participatory textile projects in the public space. In doing so, I will focus on The stitch project (2012–). This project involves public interaction through acts of tactile textile making such as stitching on a tablecloth. I have based this study within a context of understanding matter and the embodiment of participation from feminist (Ahmed, 2006; Butler, 1988) and new materialist (Barad, 2003; Coole & Frost, 2010; Garber, 2019) perspectives. I am interested in the interactive aspects of The stitch project and how these aspects relate to the concepts of diapraxis (Nunes, 2019) and al masha (Hilal & Petti, 2018). In regard to these terms, I aim to examine the potentials and challenges of participatory textile art projects, like The stitch project, by examining their social and material aspects as well as the complexities of inclusion and participation.

Author Biography

Marie Skeie, University of South-Eastern Norway

Marie Skeie is currently a PhD candidate at the University of South-Eastern Norway in the Department of Visual and Performing Arts Education.  She holds an MA in Art and Public Spaces from Oslo National Academy of the Arts and a BA in Sociology from the University of Bergen. For many years she has worked as an artist, curator and producer within the public space often using textiles and a variety of materials and mediums in her work. Skeie’s interest in collective processes and artistic collaboration has led her to initiate and/or participate in projects such as Her og der, (F)jorden, The Stitch Project and Gaza (a)live.


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Hands of a person doing embroidery in The Stitch Project




How to Cite

Skeie, M. (2024). The stitch project: Traces of diapraxis and al masha within participatory textile projects. Nordic Journal of Art & Research, 13(2).