Reimagining lace in a digital space
An interdisciplinary collaboration between an animation artist and a textile designer
DOI:
https://doi.org/10.7577/formakademisk.4408Keywords:
contemporary lace, materiality, animation, (P)lace-making, lace-scapeAbstract
This paper presents how a contemporary lace practice explored the medium of animation as a digital tool for craft research. Research is practice based and theoretically framed around notions of smooth and striated space as a means to articulate how a designer engages in textile thinking to reimagine new expressions for (p)lace in a digital age. The author sought to test out if animation could capture and disseminate an ephemeral lace process. This led to a curious convergence between two disciplines. What was initially to be a tool for efficiency and speed unexpectedly turned out to be a method for abstracting an allusive lace making process. Learning about the idiosyncrasies of another discipline opened new aesthetic opportunities for a contemporary lace practice and introduced novel methods to disseminate future material research.
References
Briggs-Goode, A., & Dean, D. (2013). Lace: Here: Now. Black Dog Publishing.
Calvino, I. (2012). Invisible Cities. In J. Hemmings (Ed.), The Textile Reader (pp.123-124). Bloomsbury. (Reprinted from Invisible Cities, by I. Calvino, 1972, Harcourt Publishing Company)
Carnie, B. (2007). Digitising Positive + Negative Space: A Case Study. In C. Heffer (Ed.), Lace: Contemporary Textiles: Exhibition + New Works: Cecilia Heffer. (pp. 18-21). DAB DOCS.
Crosby, A., & Vanni, I. (2020). The not-yet-tropical: mapping recombinant ecologies in a Sydney suburb. Visual Communication Journal 19(3), 331–352. https://doi.org/10.1177%2F1470357220915652 https://doi.org/10.1177/1470357220915652
Deleuze, G., & Guattari, F. (2012). 1440: The Smooth and The Striated. In J. Hemmings (Ed.), The Textile Reader (pp.179-181). Bloomsbury. (Reprinted from, A Thousand Plateaus: Capitalism and Schizophrenia, pp. 474-477, trans. B. Massumi, 1987, University of Minnesota Press)
Dorst, K. (2007). Lace Speaks to Us Again. In C. Heffer (Ed.), Lace: Contemporary Textiles: Exhibition + New Works: Cecilia Heffer. (pp. 7-9). DAB DOCS.
Dorst, K. (2015). Frame Creation and Design in the Expanded Field. She Ji: The Journal of Design, Economics, and Innovation, 1(1), 22-33. http://dx.doi.org/10.1016/j.sheji.2015.07.003 https://doi.org/10.1016/j.sheji.2015.07.003
Heffer, C. (2015). Lace Narratives: A Monograph, 2005 – 2015. UTS ePress. https://doi.org/10.5130/978-0-9924518-6-8 https://doi.org/10.5130/978-0-9924518-6-8
Hemmings, J. (Ed.). (2012). The Textile Reader. Berg Publishers.
Hemmings, J. (Ed.). (2015). Cultural Threads: Transnational Textiles Today. Bloomsbury.
Igoe, E. (2013). In Textasis: Matrixial Narratives of Textile Design, [Doctoral dissertation, Royal College of Art]. ProQuest Dissertations Publishing. http://search.proquest.com/docview/1780278821/
Ingold, T. (2007). Lines, A Brief History. Routledge. https://doi.org/10.4324/9780203961155 https://doi.org/10.4324/9780203961155
Jefferies, J. (2012). Pattern, Patterning. In C. Lury, & N. Wakeford (Eds.), Inventive Methods: The Happening of the Social (pp.125-133). Routledge. https://doi.org/10.4324/9780203854921 https://doi.org/10.4324/9780203854921
Jefferies, J., Wood Conroy, D., & Clark, H. (Eds.). (2016). The handbook of textile culture. Bloomsbury. https://doi.org/10.5040/9781474268684 https://doi.org/10.5040/9781474268684
Lean, M. H. A. (2020). Materialising data experience through textile thinking, (Publication No. 28197068) [Doctoral dissertation, Royal College of Art]. ProQuest Dissertations Publishing. https://researchonline.rca.ac.uk/id/eprint/4443
Mason, J. (2002). Researching your own practice: The discipline of noticing. RoutledgeFalmer. https://doi.org/10.4324/9780203471876 https://doi.org/10.4324/9780203471876
Massumi, B. (2013). Making to Place: In the Artist’s Words Refracted. In C. Zegher (Ed.), Here Art grows on Trees; Simryn Gill (pp.185-225). Australia Council for the Arts, 55th Venice Biennale.
McFadden, D., Scanlan, J., Edwards, J., & Frankel, S. (Eds.). (2008). Radical lace & subversive knitting. Museum of Arts and Design.
Millar, L. (2011). Transparent Boundaries. In L. Millar (Ed.), Lost in Lace: Transparent Boundaries (pp. 5-12). Published by Birmingham Museums & Art Gallery.
Nimkulrat, N., Kane, F., & Walton, K. (Eds.). (2016). Crafting Textiles in the Digital Age. Bloomsbury. https://doi.org/10.5040/9781474285902 https://doi.org/10.5040/9781474285902
Orpin, E. (2015, July). Craft Modern Lace, Profiles of Contemporary Lacemakers. Uppercase Magazine, (26), 68 -87.
Pajaczkowska, C. (2016). Making Known: The Textiles Toolbox – Psychoanalysis of Nine Types of Textile Thinking. In J. Jefferies, D. Wood Conroy, & H. Clark (Eds.), The Handbook of Textile Culture (pp. 79- 94). Bloomsbury. https://doi.org/10.5040/9781474268684.ch-006 https://doi.org/10.5040/9781474268684.ch-006
Papastergiadis, N. (2017). Motion Fearness. In E. McEoin, S. Maldment, M. Patty, & P. Wallis (Eds.), NGV Triennial 2017 (pp. 20 – 31). Council of Trustees of National Gallery of Victoria.
Plumley, F. (2012, March). Stitches in air: Computational craft. Artlink, 32(1), 63.
Schön, D. A. (1991). The Reflective Practioner, How Professionals Think in Action. Ashgate Publishing.
Sennett, R. (2008). The Craftsman. Yale University Press.
Shepherd, R. (2007). Lace, threading a history. In C. Heffer (Ed.), Lace: Contemporary Textiles: Exhibition + New Works: Cecilia Heffer. (pp. 10-13). DAB DOCS.
Shepherd, R. (2011). Preface. In L. Ward & R. Shepherd, (Eds.), Make Lace Not War: Powerhouse Museum International Lace Award (pp.9). Powerhouse Publishing.
Sudo, R. (2011). Tanabata Lace. In L. Millar, (Ed.), Lost in Lace: Transparent Boundaries (pp.100-101). Published by Birmingham Museums & Art Gallery.
Ward, L. (2012, March). Openwork Patterns. Artlink, 32(1), 34-37.
Wilson, A. (2008). Topologies, Artists Statement. https://www.annewilsonartist.com/topologies-credits.html
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2021 camilla Groth; Cecilia Heffer
This work is licensed under a Creative Commons Attribution-NoDerivatives 4.0 International License.
Authors who publish with this journal agree to the following terms:
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution 4.0 License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
- The author(s) must manage their economic reproduction rights to any third party.
- The journal makes no financial or other compensation for submissions, unless a separate agreement regarding this matter has been made with the author(s).
- The journal is obliged to archive the manuscript (including metadata) in its originally published digital form for at least a suitable amount of time in which the manuscript can be accessed via a long-term archive for digital material, such as in the Norwegian universities’ institutional archives within the framework of the NORA partnership.
Readers of the journal can print out the published manuscripts under the same conditions as apply to the reproduction of physical copies.