In my tutorials with Rosalind Davis and Freddie Robins I was encouraged to widen the scope for exposure for my work and consider applied art opportunities. Time to dust down my fine-art airs and send off an application for membership with Contemporary Applied Arts. I’m not sure what my chances are as I’ve no background in textile arts and learn the requisite crochet skills while I make the work. Nor do I have any pieces in collections (yet), but I thought I’d give it a go. Time also to learn more about my chosen medium – I’ve just acquired a second-hand copy of Lis Paludan’s Crochet – History and Technique. It’s in black and white and thus has a suitable yesteryear feel: after all it is crochet’s quaintness (even at a time when it seems to come into fashion again), its look and sensory qualities, which interest me in the context of my (memory) work.
Instead of introducing a new project (I’m rearing to go) I’ve decided to get on with my foundlings. It’s all too tempting to fly away with a fresh idea, its excitement, drive, urgency. Then comes the real work.
The stitching here is very very tight and thus fairly tiring to do. Necessary though in order to achieve the holding of shape as well as a sense of strained control. I see my outfits as a kind of visualization of mental and physical states, an outer layer where interiority and exteriority meet and manifest. I’m interested in Didier Anzieu’s notion of a skin-ego (big concept for small work, I know). He describes skin as both a biological and a phantasmagoric feature, with three basic functions: as container/pocket/envelope, as border/protection and interface, and as organ for exchange/communication with an other. It helps me think about what I’m doing and makes me want to explore further. Need an upgrade for my brain.
PS. Last pair of foundlings will be finished soon.
PPS. Skull almost painless this week, who knows why. Counting my blessings – can you hear me sing?
Foundling (2012/13)
Materials: crocheted from cotton thread
Dimensions: 22.5 cm x 27 cm
