Posts Tagged ‘Thoughts’

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Contextual Categories: Art and Craft

Wednesday, May 22nd, 2013
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Art vs Craft

In the last issue of Crafty Magazine columnist Mr X Stitch opened up the old Art and Craft debate which got me thinking. As someone who studied Fine Art, and now employing material processes which many consider to be ‘Crafts’, I have increasingly found myself giving more thought to issues which relate to this debate.

The boundaries between Art and Craft have been contested for long time now with Craft often coming off worse – often being associated with amateurism and craft fairs. It is an argument that continues today as Mr X Stitch’s article illustrates and I know a fair few ceramicists in particular who continue to struggle with this debate.

It surprises me somewhat however that the debate hasn’t really developed beyond pitting one against the other. The question still asked is something akin to; “Is this work Art or is it Craft?”

Art and Craft are different. Art is not Craft and Craft is not Art. Likewise Illustration is not Art and Art is not Illustration; Photography is not Art and Art is not Photography; Painting is not Art and Art is not Painting.

These terms are independent of one another and describe niche disciplines or areas of intellectual or material processes within the arts.

If we consider “image X”, for example, it might be widely be agreed that that this work is an Illustration. However, that does not mean to say that “Image X” cannot also be Art.

In fact “Image X” might reasonabley be considered to be Illustration, Art, Drawing, Design and Painting all at the same time.

Contextual Categories

These categories that we apply to describe creative works are fluid. They are independent of one another and there is absolutely no reason why we cannot apply more than one of them to any individual piece of work.

So returning to Craft let us consider “Object Z” which is widely agreed to be Craft. There is absolutely no reason why this piece of work cannot simultaneously be considered Art.

In fact if “Object Z” happened to be one of my own embroideries, for example, Synchronous Hermaphrodites, I would be as comfortable labelling this work as Art as I would Craft as well as Textiles, Drawing and Fibre Art amongst others.

All of these labels are applicable in helping to define this piece of work. Labelling it as only Craft rejects the research that went into developing the themes that I am trying to explore through the work. On the other hand labelling it as only Art ignores the time and effort that was put into realising the outcome of my research.

Of course some may not agree that all of these labels are appropriate to describe my work. That some might find it difficult to consider one of my Synchronous Hermaphrodites embroideries as Drawing is understandable. Categories are contextual and specific to an individual as Daniel Levitin argues in his book “This is Your Brain on Music”. Levitin states that one person’s Heavy Metal music might be another person’s Rock music. Continuing with this vain of thought it is reasonable to assert that one person’s Art might be another person’s Craft and even another’s Illustration.

This argument for contextual categories is supported by John Carey. In his book “What Good Are The Arts?” Carey argues that anything can be Art if someone considers that something to be Art. The rationale that one might apply to a piece of work in order to categorise it might include any number of things such as education or the influence of friends and acquaintances amongst others.

So whilst I might consider “Object Z”, which we have widely agreed to be Craft, to also be Art, the next person may disagree and consider the work to be perhaps both Craft and Illustration but not Art.

Individual Perspectives

In his article in Crafty Magazine Mr X Stitch postulates that a lay person might categorise work thusly; “This is a painting, therefore it’s art. That is a cross stitch therefore it’s craft”.

This might be true for that individual but that is not to say that the cross stitch mentioned might also be considered Art by the next person. The qualities that one individual looks for in a piece of work to identify which categories should be applied to it may differ considerably depending on many external factors.

Mr X Stitch goes on to state that “to decide that work made with a needle and thread can’t be art is rubbish”.

But is it not rubbish to so swiftly belittle someone else’s opinion as to what is Art and what is not?

After all we are not all engaged with the arts to the same degree. We are all different, a fact that we are regularly encouraged to celebrate, and the combinations of criteria that we might apply to categorise a piece of work might vary infinitely.

Back in school I remember that a large preponderance of the work studied and created during art classes revolved around painting, drawing and occasionally sculpture. Assuming that art lessons around the country are delivered in similar ways due to the National Curriculum it would be understandable that many people whose engagement with the arts ended after the completion of their GCSEs, if not earlier, might apply such critique as “This is a painting, therefore it’s art”. If they never acquired any experience of working with stitch during art classes then the possibility of cross stitch being considered Art may never have entered into their mind.

I have completed quite a robust education in the arts and so my own criteria for categorising works are quite different to what they might have been if I had given up following a creative path after completing my GCSEs. Being rooted in the visual arts I tend to think of Art as visual philosophy; I see it as referring to the intellectual rigour with which a work is underpinned, whilst I view Craft as the material processes which were engaged with in the physical creation of a work; whether that be sewing, drawing, painting or otherwise. These may be means-end processes but they are still as important, in my opinion, as the intellectual input that fuels the creation of new work.

Whilst the term ‘Craft’ might be used in the pejorative and the term ‘Art’ might often appear to some to be pretentious there is no reason why the two have to be mutually exclusive.


Do comment below with your view. I’d be interested to hear of others’ opinions on this topic and how you distinguish one creative category from another.

If you enjoyed this post you might enjoy listening to Grayson Perry musing along similar lines in this video from the V&A.

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Embroidered Welsh Samplers

Sunday, May 12th, 2013
Posted in: Blog

Welsh Embroidered Sampler | St Fagans Museum Wales
Click the images to view larger

Embroidered Welsh Samplers

Last Friday I headed over to the National Museum of Wales at St Fagans to visit the Textiles department. The Curator for Textiles, Elen Phillips, had kindly agreed to let me examine some of the old embroidered samplers in their collections.

The museum has hundreds of these creations but there are less than a handful on display – in no small part due to the current re-development project that is in progress and due for completion in 2016.

Whilst these embroideries might not be on public display at present you can make an appointment to view parts of the collection. Elen kindly dug out three boxes full of embroideries for me to look through which kept me entertained and engrossed for hours.

Embroidered Welsh Samplers | St Fagans Museum Wales

One of the first things I noticed about these embroideries was just how many of them were created by young girls aged from 7 – 11 years old. The scale and complexity of the designs that have been stitched by these young girls is quite staggering. I could never imagine a child of that age today undertaking the amount of work that would be necessary to complete one of these samplers.

The other thing that initially struck me about these creations was the size of the stitches that have been used. They are absolutely tiny!

I’d have to set myself up with a string daylight bulb and a magnifying class before even considering embroidering something with such small stitches.

Embroidered Welsh Samplers | St Fagans Museum Wales

The word ‘sampler’, or in French ‘essamlaire’, indicates that these works were intended to be exemplar pieces. Needle workers would use them as models from which to stitch. This is perhaps why so may of the samplers contain varying strings of alphabets and numbers often in different fonts.

That said many of the samplers are created as testimonials in remembrance of lost loved ones and others contain religious messages.

A large number of the samplers were completely monochromatic; completed using only one colour of thread. This is perhaps understandable if these works had been created by young girls wanting to practice their stitches. Choosing to perfect ones stitches before introducing another layer of complexity in terms of colour makes sense.

Blackwork Embroidery | St Fagans Museum Wales

There was however, only one example of black work embroidery (above) which is a shame. Black work tends to appear particularly stylised and given that a lot of my own embroideries are very monochromatic I’d have liked to have been able to examine a bit for of it up close.

Embroidered Welsh Samplers - SampleriCymreig | St Fagans Museum Wales

This recumbent stag created by Elizabeth Harvey in Penarth (1815) was one of my favourite images from those that I was able to examine. Like the majority that I looked at it was created using mostly cross stitches.

I found it interesting that so many of these works were created using cross stitch given the fine linen they were sewn upon. I think the combination of a fine ground and the cross stitch is a cause for some of incredibly tiny stitches. Upon closer inspection it looked as if the stitchers had tried to use the fine weave of the ground as guides for theor stitches in the same way that a cross stitcher might use Aida fabric.

The collection provided exactly the kind of inspiration that I was looking for as I’m starting to thing about beginning a new series of embroideries. If you have the inclination and opportunity I would definitely recommend booking yourself an appointment to view some of these works for yourself.

Find out more about St Fagans here: www.museumwales.ac.uk/en/stfagans/

Embroidered Welsh Samplers - SampleriCymreig | St Fagans Museum WalesEmbroidered Welsh Samplers - SampleriCymreig | St Fagans Museum WalesEmbroidered Welsh Samplers - SampleriCymreig | St Fagans Museum Wales

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My Creative Scene: Cardiff

Thursday, January 31st, 2013
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My Creative Scene: Cardiff

My Creative Scene: Cardiff

I was recently invited to write an article for Central station’s My Creative Scene feature on their website.

It took me a while to decide how to approach the article and whether or not I should tackle it from a personal perspective or by taking an overview of everything that takes place in the city. In the end I produced a whistle-stop account of all the events and goings on that I’m engaged with.

I’m sure I missed out a thing or two but it’s an honest account. You can read My Creative Scene in full on the Central Station website here.

There are also a number of other interesting other My Creative Scene articles from cities across the world including, Zagreb, Kathmandu, and Mexico City amongst others.

www.thisiscentralstation.com

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Thinking Out Loud: Art & Craft

Tuesday, September 11th, 2012
Posted in: Blog

Having found my footing as an embroidery artist over this last year or so, the question “What is the difference between art and craft?” has cropped up increasingly more in conversations about my work. I’ve been trying to dissect this and figure out what these terms mean for me.

Of course the Art & Craft debate dates all the way back to the beginning of the twentieth century, nonetheless I thought I’d share some of my thoughts here. I’ll keep the focus of this post on the outcomes I’ve reached so far rather than sharing my whole thought process else I’ll be here all day.

‘Craft’ for me refers to the act of making. This might be stitching, painting, drawing, sculpting, assembling, sticking, gluing… and so on. In the context of my practice craft is the act of making physical, or visible, a thought or idea.

‘Art’ is perhaps more tricky to pin down because the pejorative use of the word is so widespread that it’s definition has become more fuzzy than a polar bear’s testicle. I tend to think of ‘art’ as visual philosophy and in relation to my own work I see it as referring to the intellectual rigour with which a work is underpinned.

There is a danger that what is perceived as craft because of the materials from which it is made is too often dismissed by those interested in the arts as being ‘only’ or merely’ craft.

By the same token there seems to be a lot of work produced by artists who have given little or no consideration to the way in which their work is crafted and we are often informed that the idea which underpins the work is the focal point rather than the physical embodiment of the idea. I’m not wholly comfortable with this attitude, it seems like a hangover from a bygone era. One wouldn’t produce a book that was inarticulate and badly written because no one would read it and thus your ideas wouldn’t be listened to. Why then should we suffer poorly crafted works of art?

Does a work need to embrace considerations relating to both art and craft before one can set about making a truly great piece of work? I would say so. A good concept should be embodied in a well crafted form to achieve maximum impact.

This understanding that I’ve come to has been very much through consideration of the relationships between these terms in relation to my own practice. Clearly the terms are used much more widely and their definitions may vary from one context to another but I feel like I’ve begun to get a proper grasp of what it is that .

If you’ve any thoughts on this feel free to share them in the comments below or via email.

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Little Red GIF Magic

Wednesday, August 29th, 2012
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I’ve had it in mind for a little while that I want to create some little animated GIFs so I made this little test in the woods over the weekend. It’s a bit rough but having created this one as a sort of sketch I’ve a better idea about what I want to do now.

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A Venn Diagram

Tuesday, August 14th, 2012
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Venn Diagram via happy2Bsad

via www.happy2bsad.tumblr.com

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eMbroidery Interview

Tuesday, June 5th, 2012
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Last month I took part in an interview for Mr X-Stitch’s eMbroidery column which is a series of interviews with male embroiderers. Given the relatively short space of time in which I’ve been engaging with embroidery I was rather flattered to have been asked to take part.

And so if you would like to find out a little more about my embroidery, the influences behind it, and my inspiration, pop on over to read my interview with Mr X-Stitch here: www.mrxstitch.com.

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Carnivalesque Notes

Wednesday, December 21st, 2011
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The crowning of a mock king or queen
for an opening event or special
occasion.
Audience as performers? Riding hobby
horses/unicorns; dressing in cloaks
or masks; wearing claws or feet;
wielding props or other items
eg. a staff, a sword, a frying pan.
How about having animals in the space?
Miniature pigs grotesque and pink.
It wouldn’t be a carnival without
song and dance; ‘Always’ by Erasure.
Angel Delight, cocktail sausages,
jelly and ice cream, cake.
Maybe a rainbow walkway through the space.
A cage? A caged person? A caged unicorn?
A caged Minotaur? A freak-show? A zoo?

.

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Fruitmarket Gallery: Ingrid Calame

Thursday, August 25th, 2011
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I spent last week in Edinburgh exploring just a few of the thousands of arts events taking place as part of the Edinburgh Festivals. As well as taking in a number of performances as part of the Fringe Festival I also took in some of the exhibitions that comprise the Edinburgh Art Festival including the current exhibition by Ingrid Calame at The Fruitmarket Gallery.

Calame creates works from a very meticulous and obsessive process through which she traces the marks on the floors and walls available at numerous urban locations. The traces of the stains, scratches, cracks and other marks are taken back to the studio where they are compiled and arranged into the finished works.

...puEEp... (2001)

The exhibition consists of a number of paintings and drawings by the artist with newer works being displayed in the first floor galleries along with a site specific wall drawing created especially for the show. Upon entering the gallery I was greeted with a large work, sspspss…UM biddle BOP, created from mint green enamel paint on trace Mylar. Unlike the other paintings on show this work felt a lot more lively and fluid. I can only assume that the work was created through the same meticulous process that Calame applies to the rest of the work yet this piece appeared like it was constructed from large splashes and splatters of paint.

Of all the paintings on show this was certainly the most interesting. I found it difficult to find any real depth in the other smaller paintings on display, such as …puEEp… (pictured above). These smaller works just didn’t seem to convey the energy that was visible within the large opening piece nor the references to sense of place that was apparent within the drawings that I came to later. These painting are created by taking traces back to the studio and combining them, retracing and layering them. Each step in the process takes the work one step further away from the original source and I felt that this was apparent within the final images.

Although these paintings were very aesthetically pleasing it was the drawings on display that really grabbed my attention. The traces collected on location are taken back to the studio and layered into what Calame calls a Constellation from which she traces parts of the originals layered together into new drawings.

Working Drawing #46 (1999)

Many of the drawings on display in this exhibition are drawn in brightly coloured pencil, sometimes layered on top of one another and occasionally providing a graduated swathe of colour across the works’ surface. The drawings appear like alien maps that are impossible to read but that I still wanted to dive into an explore. Both sides of the trace Mylar are used which gives many of the works a slightly strange sense of depth whilst following the lines around the surface of the work.

Some of the drawings contain recognisable elements such as the numbers apparent in the traces obtained from the floors of the ArcelorMittal steel factory. These works might have had less of an alien appearance to those more abstract drawings but the sense of place and time was intense. Of course I have not visited the said factory and have no knowledge of it beyond these works but the works conveyed the history of the place as if Calame had perfectly captured that moment that she was there.

The use of both sides of the Mylar was most apparent in a number of more recent drawings hung in the first floor gallery. These large works, created in monochrome grey pencil, are densley packed with marks which all appear to be on the same plane rather than the result of layering a number of original traces. Parts of the drawings have only been completed on the reverse leaving muted opaque areas which caused a strange discomfort when viewed from a distance.

In addition to the new works on the first floor there is a large site specific wall drawing. Unlike the other works this is created from bags of pigment which have been pounded at the wall through very finely punched Mylar. Although the materials are different the artist’s meticulous approach is apparent. The energy which must have been expended in creating this work is visible through the radial bursts of pigment on the wall. Like the other drawings on display it is easy to get lost in the work following a line, exploring hundreds of different explosions of pigments or wandering through the inbetween the spaces.

Ingrid Calame’s exhibition at The Fruitmarket Gallery continues until 9 October 2011. I’d highly recommend dropping in to see it if you find yourself in Edinburgh.

www.fruitmarket.co.uk

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Art, Aesthetics & Pornography Conference: Day 2

Tuesday, July 12th, 2011
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Things have been a bit hectic over the last couple of weeks so apologies if you’ve been eagerly awaiting my update on day two of the Art, Aesthetics & Pornography Conference at the Insitute of Philosophy.

Day two started with The Looking Glass and the Cystal Goblet: Typograhy and Pornography in Arsewoman in Wonderland by RCA PhD Candidate Kim Dhillon. Her research interested relate to the artistic and aesthetic properties of words.

The paper that Dhillon presented took it’s name from a piece of work by the artist Fiona Banner. Banner’s piece is constructed from words. She wrote a description of the film Arsewoman in Wonderland as she viewed it.

Fiona Banner: Arsewoman in Wonderland (2001)

Dhillon argued that the words are not readable as a text due to the way in which they are presented. All though transcribed chronologically (presumably from top left to bottom right) she suggested that due to the large scale nature of the work and the way that it is presented as an installation the viewer can only dip in and out of the work extracting a line or a few words at a time.

The paper led to a discussion about the difference between pornography without words, which was a notion that Dhillon raised, and erotica. Obviously erotica is intended to arouse the reader but we would not normally consider such works to be pornographic.

Dhillon asked to consider that Banner’s work could be categorised as pornographic. However, it was disputed as to whteher the work was actually at all arousing. After all it was not written in such a way as to cause arousal and the snippets of sentences that Dhillon referred to lost their context.

I’d be interested to find out some more about Dhillon’s work because her interest in the aesthetics of words sounds fascinating. The paper she presented here of course focussed more upon the pornographic nature of words although she touched upon her wider area of research towards the end with references to work by Tracey EMin amonst others.

A Necker Cube

The second paper of the morning was by Professor Stephen Mumford and was entitled A Pornographic Way of Seeing. He was clearly a well seasoned speaker as her presented an engaging paper without the use of slides.

Mumford’s paper argued against an essence of art and against an essence of pornograohy. Instead he propsed that a work is categorised by the way in which it is viewed by it’s audience. This approach was at odds with a number of the other speakers at the conference who had seemingly been trying to identify and define those qualities which distinguished art from pornography.

He also argued against Maes’ exclusivist theory for example, which states that a piece of work can be both pornographic and artistic but not at the same time. Mumford suggested that viewers could switch between artistic and pornographic ways of seeing rapidly much like the way one can view a necker Cube.

He went on to cite an institutional theory of art and suggest that it is society that dictates whether we should view a work artistically or pornographically. For example, if we were to view a pornographic film within the context of a gallery we would react to it differently to watching it at home due to the social rules which we abide by.

I found Mumford’s presentation absolutely fascinating although some of the more hardened philosophers in the audience picked numerous holes in his arguements.

The presentations I elected to attend after lunch were much more akin to art and design lectures I’ve been accustomed to in the past in that they were historical investigations rather than philosophical inquiries.

Stefan Trinks paper, Sheela-na-gig Again: The Birth of a New Style from the Spirit of Pornography, examined the pornographic qualities of the grotesques found in Romanesque art.

It was an interesting look at some of the pornographic content found in the Romanesque sculptures at eleventh century churches in Northern Spain. However, I found it a little strange that Trinks didn’t touch upon the Carnivalesque within his paper as I thought there were clear links between the Carnivalesque and the images he was presenting.

He discussed the fact that the Church saw sexuality and voyeurism as a problem but didn’t touch upon any earlier pagan ideas which saw the displaying of genitalia as a tool to ward off evil spirits. The imagary he was discussing appeared to me to be the result of changing times whereby the earlier pagan beliefs were being replaced by the teachings of the Church.

Similary, Dinu Munteanu’s paper, Lingerie, Femininty and Victorian Pornography: From Amelia Bloomer to the ‘ewd’ Industry, was a piece of historical reseach.

Munteanu presented a historical account of the changes to women’s underwear throughout the nineteenth century before discussing the effects these chnages had on women and society. He argued that pornography actually aided the development of a feminist agenda rather than hinder the emmancipation of women.

I had been looking forward to this paper but I must admit I was a little underwhelmed as Munteanu read his paper out in a very dry fashion, mumbling through much of it. Although some of the areas he covered were interesting I’ve not an awful lot to reflect upon as I struggle to hear much of what he presented.

Fortunately the afternoon rose to a crescendo with a lecture from Martin Kemp about the exhibition Seduced. Art & Sex: From Antiquity to Now, that was shown at the Barbican in 2007/2008.

Jeff Koons: Ilona on Top (Rosa background), 1990.

Kemp’s talk was in contrast to the rest of the presentations. Rather than a formal academic paper it was more of a reflection upon his experience curating the Barbican’s exhibition.

The amount of work that went into dealing with the public’s’ perception of the show as a result of the themes that the exhibition explored was quite phenomenal. The entire gallery staff undertook specific media training to deal with press enquiries and special previews were organised for local councillors to ensure that they understood what the show consisted of.

He also informed us that a lot of thought went into the title of the exhibition to ensure that it provided a suitable contextual frame for the work contained within it. Knowing how difficult it can be to find an appropriate title for a project I can understand why this would have been such a tough task.

Kemp’s presentation also raised some important questions for those of us practitioners in the room with regard to making and reception. That is, as an artist it is vitally important that you understand the changes that might arise within your work within the context of reception versus the context of making.

Unfortunately I couldn’t stay for the final day of the conference due to such boring obstacles as time and money. With papers entitled Why Porn Sucks and The Pornography of Death it was a shame to have to miss out. However my brain was full to bursting after just two days so I might have been in danger of an art, aesthetics and pornography overload.

For those of you interested you can download a copy of the full conference schedule as a .pdf file here.

Conference website: https://sites.google.com/site/aestheticsartpornography/home

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