Interlaced
solo exhibition, Aviary Gallery, 2017
Pattern is the symmetrical result of rhythmic action on matter.
Time is one of the elements of rhythm, just as metre is one of the elements of poetry.
- Elsie Fogerty, “Rhythm”, 1936.
This project explores the act of handwork in relation to processes of textile construction and digital capture. As an artist working primarily with textiles, I see rhythm and pattern as inherent to the woven structure of textiles and I experience the physical rhythms present in actions such as stitching, cutting, and folding cloth. With a background in photography, I begin to wonder; what happens when these rhythms of making are expressed through a photographic lens? What does it mean when the structure of a cloth’s warp and weft is translated into a pixel grid?
With fabric scraps found around my studio, needles, thread, scissors, a xerox machine and a flatbed scanner I began to document simple acts of hand stitching and textile construction. The use of photographic scanning devices to capture these processes allows me to play with time, scale and the digital artifacts that arise from the way the equipment’s sensors capture the movement of hands, tools and fibers. The resulting scans from these actions were then combined into grids that represent basic weaving patterns. A pixel pattern of a photograph is coupled with the gridded pattern of a weave structure; a rhythm within a rhythm, a grid within a grid. What emerges from these meta combinations are new “woven” structures, visually textured surface designs that incorporate the actions and artifacts of handwork over time into new kinds of interlaced constructions.
Time is one of the elements of rhythm, just as metre is one of the elements of poetry.
- Elsie Fogerty, “Rhythm”, 1936.
This project explores the act of handwork in relation to processes of textile construction and digital capture. As an artist working primarily with textiles, I see rhythm and pattern as inherent to the woven structure of textiles and I experience the physical rhythms present in actions such as stitching, cutting, and folding cloth. With a background in photography, I begin to wonder; what happens when these rhythms of making are expressed through a photographic lens? What does it mean when the structure of a cloth’s warp and weft is translated into a pixel grid?
With fabric scraps found around my studio, needles, thread, scissors, a xerox machine and a flatbed scanner I began to document simple acts of hand stitching and textile construction. The use of photographic scanning devices to capture these processes allows me to play with time, scale and the digital artifacts that arise from the way the equipment’s sensors capture the movement of hands, tools and fibers. The resulting scans from these actions were then combined into grids that represent basic weaving patterns. A pixel pattern of a photograph is coupled with the gridded pattern of a weave structure; a rhythm within a rhythm, a grid within a grid. What emerges from these meta combinations are new “woven” structures, visually textured surface designs that incorporate the actions and artifacts of handwork over time into new kinds of interlaced constructions.
Archival Inkjet Print, 42 x 64 in.
Archival Inkjet Print, 42 x 64 in.
Archival Inkjet Print, 42 x 64 in.
Archival Inkjet Print, 24 x 36 in. (in private collection)
Archival Inkjet Print, 24 x 36 in.
Archival Inkjet Print, 24 x 36 in.
Weaving Process 01, hand-collaged xerox prints on cotton paper. 24 x 36 in.
Process Work #1-3; fabric, thread, 8 x 10 in. each (in private collection)
Archival Inkjet Print, 42 x 64 in.
Exhibition View.
Detail.
Detail.
Detail.