Over the last two weeks I’ve been part of Clare Smith’s wonderful Stitched Time Project, and it has surprised me with a few wider lessons.
The Problem Solving Machine as a device to address thorny issues
This approach requires a few key carefully sourced ingredients to operate:
– Raw materials
– Space
– A simple and repetitive task that requires completion
– Artistic time given willingly by multiple participants over an immersive period
The outcome is a non-hierarchical group structure with dynamics that feel embracing, welcoming and non-threatening. Easy conversations result; periods of companionable silence followed by spontaneous discussion flowing along unexpected and unplanned paths. Intimacy with one’s co-conspirators quickly evolves providing an enjoyable, effective way to exchange information and air problems, but with the immanent power to uncover innovative, unusual solutions.
Authorship and collective / collaborative working
Considered in its widest context most art isn’t the sole work of one artist-originator but emerges from the subtle interaction of ideas garnered from a wide range of sources. The fundamental rules and instructions for the Stitched Time Project originate from Clare Smith, but decisions made beyond this initial starting point are determined by individual makers and each stitch sewn bears their mark – a personal drawn line.
Given this, does the project ultimately deliver joint authorship? Are its members collaborating or working collectively? In my mind, collaboration conjures ideas of people coming together on an equal footing to deliver something, whereas collective introduces an element of hierarchy in terms of roles. It’s interesting Clare Smith’s asked if the opposite could be true based on a thesis read recently which suggests ‘collective is about joint authorship, while collaboration is more about single authorship’.
Co-operation is a necessity – it certainly allows far more complex projects to be delivered than the sole artist working alone – but how / when does it undermine the position of artist-initiator and is it a cause for celebration or too high a price to pay?
At the moment, I don’t feel the need to answer these questions; merely to frame them for further consideration.
