Catch up post from 2016, Embedded Triangle Design
Test installation in the Art Building Foyer, Oct 2016
Catch up post from 2016, Embedded Triangle Design
Test installation in the Art Building Foyer, Oct 2016
Galaxy Web Image Experiments.
Honeycomb v3 Image Experiments.
3D web Image Experiments.
Experiment 3, Moving towards complexity…
Aim: to add more elements without compromising the overall aesthetic.
Awareness of; starting points when joining structures (as determines curvature & can cause kinks/deformation)
Size, length & density of tubes in relation to layers
3mm, 2 of 4 layers
3mm & 4mm layers, 5 of 8 sides
3mm & 4mm layers, 7 of 8 sides, Left: the free-standing form, Right: underside of form
3mm, 4mm & 6mm layers, 10 of 12 sides
3mm, 4mm & 6mm layers, 11 of 12 sides, Free-standing height of approx 30cm
Notes: No colour shift within the dispersal section allows for the form of these sections to aesthetically merge into one another.
3mm, 4mm & 6mm layers, 11 of 12 sides, Free-standing height of approx 30cm
Left: front-view, Right: side-view
3mm, 4mm & 6mm layers, 11 of 12 sides, Flattened, Top-down view
3mm, 4mm & 6mm layers, 12 of 12 sides, Top-down view
3mm, 4mm & 6mm layers, 12 of 12 sides, Side-views, Approx. 30cm free-standing height
Studio View, University of Newcastle, Mon, April 18th, 2016
Notes on studio practice, exploring architectural ‘form-finding’ experiments & scaling.
Questions: What is the relationship between hook size and thread density? How does it impact upon the aesthetic of the form and it’s structural integrity?
Radius of 12, Hexagonal Division Prism
Construction begins from the centre and moves outwards as larger layers are woven and incorporated into the structure. The design is self similar as it moves from one scale to the next, however the centre piece is inverted to show what the ‘underside’ of the outer form might look like. During the construction of the centre piece, the form was initally self-standing and became morphed (and in some respects de-formed) from the addition of outer layers. Notably the 2nd, outer devision of the 2nd internal layer pulled the previously freestanding upward centre chords towards the back of the structure. Variables such as the length of the chord between the layers, along with the staring and ending points for the logarithmic spiral constructions (I sometimes refer to these as ‘pannels’) are factors which effect this morphing of the ‘final’ structure.
These elements pertaining to the relationships between aspects of self-similar crocheted froms has lead to a further detailed study which attempts to mitigate these factors. The observations are subtle progressions towards a better understanding of the material language of the practice. This knowledge will in turn inform material studies on larger scales as I continue to adapt structural designs for large-scale applications.
Colour & Affect
What effect does the cerebral material with which my mind engages while i work have upon the practice? In the case of Carapace, the colours are inspired by a particularly visceral scene in “Words of Radiance” by Brandon Sanderson, describing a chasm creature’s thick shell scraping against rocks. The word “carapace” was interesting to me and after some googling I found myself looking at crab shells. I started to think about the tension, or maybe irony, in depicting a “shell” or “carapace” – which is a hard thing – in a soft material. I decided to apply the concept within the work, echoing the concept of a fleshy centre and hard outer shell in the colours & (to some extent) textures of the work.
*Note. To ensure as much ‘sameness’ in these ‘self-similar’ forms as possible colour continuity is of primary importance. As a result factors of colour availability are taken into account when determining gradients. If there is not enough of a material to be used x times over throughout the different panels, then i will re-engineer the colour pallet.
Sample Study 1:
2.5mm hook, 12 nodes, Tetrahedron/Equilateral Triangle division.
Sample Study 2:
2.5mm hook, Open Cube Construction, 5 of 6 sides
2.5mm hook, Closed Cube Construction, 6 of 6 sides
2.5mm & 3.5mm layers, Closed/Open Cube Construction, 8/12 sides
2.5mm & 3.5mm layers, Closed/Open Cube Construction, 9/12 sides
Sample Study 3:
2mm & 3mm layers, Tetrahedron division embedded within Cube division
Texture aims to emulate ‘shininess’ coming out of the ‘fuzzyness’
Thicker tubes leads to immediate increase in structural stability
Interesting to observe how the size of the tube sits in relation to the dispersal point and dispersion radius.
Dispersion radius determines how internal section sits, for example whether the components are pulled inwards or outwards from the centre.
Sample Study 4:
2mm construction, tetrahedron division
Sample Study 4 embedded in Sample Study 1
Sample Study 5:
3mm, 4mm & 6mm layers, Cube Division
Currently learning Italian, Spanish, French & German thanks to the DuoLingo app for android. My mum is Italian & Dad’s family came to Australia from Latvia. I’d always wanted mum to teach me Italian but her family is Sicilian and still succumbs to the view that northern Italian is superior, their southern dialect not worthy of passing on. I’d already been exposed to German & French at school, Spanish is again something I’d always wanted to learn, and I’d love to learn Latvian too – but unfortunately there’s no option for that on the app at the moment. Maybe ambitious to learn these all of these at once but I figure I’m making up for lost time, and learning them in parallel allows me to observe the patterns of similarity and difference between languages, encoded in sentence structure, grammar & etymology.
Thinking about semiotics and the ‘filter bubbles’ provided by our search engines, I conducted an experiment exploring the word for ‘crochet’ in different languages. I used Google translate to find out the relevant term, and the googled it (within the english search engine) to see what would come up. I searched for Spanish, Latvian, German & Italian translations.
Interestingly, although the term is different in most languages, image results (from European cultures) consistently reference traditional design motifs.
Search Term : “Crochet”
In spanish : tejer
Google search: tejer
tejer⇒ tejer⇒ vtrverbo transitivo: Verbo que requiere de un objeto directo (“di la verdad”, “encontré una moneda”). (tela: formarla con hilos) weave vtrtransitive verb: Verb taking a direct object–for example, “Say something.” “She found the cat.” En esa fábrica tejen tela para camisetas. vtrverbo transitivo: Verbo que requiere de un objeto directo (“di la verdad”, “encontré una moneda”). (tela: formarla con hilos) weave vtrtransitive verb: Verb taking a direct object–for example, “Say something.” “She found the cat.” En esa fábrica tejen tela para camisetas.
In Latvian : tamborēt
Google Search: tamborēt
When I did my roundup of ways to say crochet in 25 languages I listed the Latvian option as tamborēt. I’ve since learned that this is the word for crochet as a verb but if you want to talk about crocheting then the word is tamborēšana. If you want to talk about something that is crochet, a crochet noun, then the word to use is tamborējums (or tamborējumi if it’s plural). And if you’re talking about the people who crochet then the words are: tamborētājs (male), tamborētāja (female), tamborētāji (many people crocheting), tamborētājas (many women crocheting). Thanks so much to Linda Skuja of Eleven Handmade for that helpful information!!!
In german : häkeln
Google Search : häkeln
Unlike the smooth knitting needle the crochet hook has a hook at the tip. Using this hook, it is possible to pull the thread through already-made mesh and thus to produce a coherent stitch structure.
Crocheting is a much younger technology than knitting . There are no known crochet pieces that are proven to be dated before the year 1800, during knitting, if known, in the 13th century north of the Alps was practiced.
Textiles (to latin textilis, woven ‘, knitted’ braided ‘, together’ for the purposes of building and designing) referred
With the additional use of non-textile raw materials in the product is for allocation to the textiles crucial that the textile overall character remains, therefore exercising foreign materials only an additional function. 
Textiles in various forms are among the oldest artifacts that have been produced since the early days of mankind. To date, they are among one of the few categories that are used in all areas of life of people applying.For these reasons, have for millennia extensive areas that deal with textiles, evolved. These include:
In Italian : uncinetto
Google Search : uncinetto
Wikipedia page translated:
The origins of crochet work are ancient and, as in the case of other textile arts, difficult to track, but have been found primitive examples in every corner of the globe, in the Far East , in Africa , Europe , North America and South and examples they already find themselves in Egyptian culture .
Sometimes the hook has been worked out for hooks with very fine yarns which produced a delicate fabric similar to lace , or has been worked with thicker yarns on large hooks giving origin to a compact and dense tissue.
This second type of crochet was used by the Chinese to manufacture dolls three-dimensional, by Africans who used it to manufacture the headgear of their chieftains, by the Turks to create hats and Scotland to make hats and heavy coats.
Crochet is a French term. I wasn’t sure how to search for the french wiki and then translate the page to english, so from the english article on the practice;
The word crochet is derived from the Old French crochet, a diminutive of croche, in turn from the Germanic croc, both meaning “hook”. It was used in 17th-century French lace making, crochetage designating a stitch used to join separate pieces of lace, and crochet subsequently designating both a specific type of fabric and the hooked needle used to produce it. Although that fabric is not known to be crochet in the present sense, a genealogical relationship between the techniques sharing that name appears likely.
4 . Santina M. Levey, Lace: a History, Victoria & Albert Museum, London, 1983, ISBN 090128615X, p. 92
But then I figured it out;
By extension, it is a technique to tie a wire into a more or less stretchy fabric, depending on the fiber and the type of stitch used.
The term also refers to the book ( lace , lace , doily , etc.) done with this needle. Making a crochet says “crochet”. The hook is used for decoration inside a house as a place mat or a curtain, for example.
*again no references. Frames the practice within domestic environments.
Assemblage & Installation 17th March, Art Building Foyer, University of Newcastle, Australia
Assemblage, Gif @ 0.2 frames per second
Installation, Gif @ 0.2 frames per second
Camera phone photo documentation, published on Instagram & Facebook
Results for “crochet” : (20)
Land art to include, say, exhibitions of experimental-aircraft crash sites of the Mojave. The Crochet Coral Reef project may be the most seductive output of sisters Margaret and Christine… (Full reference unavailable)
Curatorial team Chad Alligood and Don Bacigalupi (who is also the museum’s president) led a pack of press on a brisk tour through nineteen thousand square feet of exhibition space, unfurling, with the help of a few highlights, their philosophy. The viewer enters the show, for example, through a tunnel of collaged crochet by Brooklyn’s Jeila Gueramian. “If you’re searching for meaning,” said Bacigalupi, “the answer is, it’s you”—the work’s title. Your interpretation, your experience, your vision. (Indeed, poking through embroidered cats and yarn tentacles, I noted, are a peyote cactus or two—but who’s to judge?)
As told to Jason Foumberg
Born in 1943 in Paraguay, Faith Wilding is an artist, activist, and professor emerita of performance art at the School of the Art Institute of Chicago. Wilding was a key figure in the the nation’s first feminist art programs, at Fresno State College (now California State University, Fresno) in 1970, and at CalArts in 1971, and she continues to work with the collective she cofounded called subRosa. “Fearful Symmetries,” her debut retrospective, is currently on view at Threewalls in Chicago through February 22, 2014. The show coincides with Wilding’s lifetime achievement award from the Women’s Caucus for Art. She is currently writing her memoirs.
FEMINISM, in my experience, is not really studied these days. The language has changed so much. After a recent lecture I gave, many of the questions people were asking made it seem as though they weren’t aware of feminist history. Perhaps the millennials aren’t interested. What does it mean to be a feminist today? To become the head of Yahoo, making billions? It’s a disgusting power thing. We still need to think politically about capitalism and patriarchy, and how they are basically wrecking the world. I find that so much of social networking—this kind of maker, DIY stuff—is apolitical. But it’s attractive, of course, and it’s very ’60s; I’ve seen it before. Too much of it does not seem to have politics. Are any of these “social” networks inclusive? Are we creating a common good? A very favorite author of mine, Silvia Federici, talks about this. She’s a strong socialist feminist.
I grew up in a puritanical Christian commune in South America. It was all God the father, Jesus the son. Women’s bodies were always covered, and there was a strong gender separation between the males and females. At about twenty, this didn’t work for me anymore. And that’s what really drove me to feminism: As a kid, I felt like I never got any of my questions answered.
On the commune we made our own clothes and shoes. We learned crochet, ceramics, handiwork, woodwork, and leatherwork. I also read like a demon and began to draw. Many of my early feminist abstractions come from nature. I grew up in a very lush tropical environment. The commune sent me to college in the US, so that I could train to be a teacher. When I got there I joined the student peace union, and before I knew it I was going to the March on Washington, and getting involved with the civil rights movement and the antiwar movement. And then came the feminist movement.
The exhibition includes two drawings by Mónica Palma that are based on the artist’s experience with patterns—from television episodes to crochet patterns—which are translated through repeated mark-making on sheets primed with color fields. The result are large-scale negative drawings wholly composed from intricate, spidery lines. The repetition seen in the two drawings recalls several important historical precedents—namely, the graphite works of Agnes Martin and the subconscious facture of Surrealist automatism—and updates them through a subtle reference to the banality of current technology.
…both 2012, consist of modular aluminum frames supporting colorful screens made of venetian blinds, crochet work, and macramé, the latter two elements integrating small bells, whose jingle… (Full reference unavailable)
This exhibition, which is curated by Nicholas R. Bell and features forty emerging artists working at the intersection of art and craft, has a title that provokes futuristic visions. In keeping with the current shift to digital technology, viewers might expect this show to champion an erasure of the evidence of the hand in production that was traditionally associated with craft. Indeed, there is little messiness here, but what one finds instead is an uncanniness that stems from the actual bodies that constantly intervene on the more controlled, product-oriented facets of craft.
Olek’s installation Knitting Is for Pus****, 2005–11, for instance, which takes up an entire room of the show, features live performers closely cocooned from head to toe in brightly colored knit body stockings and inhabiting a dystopian scene of other crochet-covered objects (a bathtub, for instance).
Counterfeit Crochet Project (Critique of a Political Economy), 2006–, in which she encourages people to join her in crocheting fake designer handbags, she alludes to the informal, underground… (Full reference unavailable)
…institutions as Zache˛ta National Gallery of Art in Warsaw and La Panadería in Mexico City as well as various Austrian venues. She is also known for making crochet dildos and hosting the CLUB… (Full reference unavailable)
Francisco artist Stephanie Syjuco describes her participatory artwork, The Counterfeit Crochet Project (Critique of a Political Economy), 2006–2008.
…2007–2009). Filipino-born, California-based artist Stephanie Syjuco also invites contributions from hobby crafters to unravel the branding and fabrication of desire; her Counterfeit Crochet Project… (Full reference unavailable)
The show’s success is due to the skillful way Vasconcelos makes wry use of items from pop culture, religious traditions, and everyday life––including objects such as crochet hooks, hair dryers, stainless steel pots, ceramics, and wine bottles––to construct her works.
…condor, Rodarte’s spring 2010 collection involved serpentine braiding and weaving of hand-tooled leather strips, macramé and crochet with black yarn and feathers, bandagelike swaths of dyed… (Full reference unavailable)
The visitor is drawn into the show via a large freestanding light box, Killing Time, 2009. The collage of discarded 35-mm filmstrips, riddled with small bullet holes, allows light to escape only through the punctures. Sequentially laminated onto a two-dimensional surface, the work creates, in effect, a spatial representation of the passing of time. It also provides an interesting conceptual strategy, since the artist shot at his films, literally “killing time.” Yet Fleurieu doesn’t stop just at film; he aims at paper, too. A close examination of Shotgun Symphony, 2009, reveals hundreds of bullet holes, each transformed into musical notes by a delicate crochet drawing.
…nuns who were preparing to display their homemade icons and crochet baskets. The disarming doubt the sisters reveal when offering their work for one another’s appraisal demonstrates a humanity… (Full reference unavailable)
…as in the blurry Television picture no. 5 and no. 6, or figuratively, as in Rope animal and Crochet animal (all 2008). In the latter pair, two handcrafted beasts, recorded in Musgrave’s quasi… (Full reference unavailable)
…is draped over a folding chair, the wolf trap lies ready at its feet, and a skein of wool and crochet needles are left on the fur on the seat. It’s a latter-day summoning of an age-old theme in…(Full reference unavailable)
…Quiron, 2006 and Jasão, 2006, two of her most recent works, are a pair of dark bull’s heads covered and color-coded with crochet pieces picked up at antiques markets. The work is part of a series made from ancient casts found in a nineteenth century ceramics plant started by Bordalo Pinheiro, a famous Portuguese caricaturist. Also related to the country’s folklore is http://www.FátimaShop, 2002, a reference to Fátima, a site where the Blessed Virgin is said to have appeared in 1917; today, numerous souvenir shops populate the area, which persists as a sanctuary for pilgrims. Alluding to this context, the piece consists of a motorized tricycle filled with kitschy, fluorescent statues of Mary. The installation faces a video projection depicting the artist’s pilgrimage to the site, as she drives the same vehicle down Portugal’s main route for these travels, the EN1, allegorizing the tensions between the region’s religious beliefs and the effects of modernization.
Weaver uses thread to knit and crochet coverings for antlers, cups, branches, and lightbulbs. The humble objects this young artist creates are delicately and intensely erotic, resonating… (Full reference unavailable)
FYI (Full reference unavailable) = paywall