Zoe's recent experiments, Autumn 2012.
Zoe Burt is an established artist who works with cameraless photography on paper and fabric for exhibition and participatory design.
Zoe arrived at the Slow Design School with cotton and flax seeds and a project to grow her own fashion from seed. She grows these at Brockwell Park Community Greenhouses, a public garden in south London, where she volunteers. She recently added silk worms to her fibre portfolio.
Zoe's project is far-reaching and has the potential to fit into large empirical and qualitative research projects such as Grow Your Own Clothes research, Cordwainer's Garden, Guerrilla Gardening and Five Lifetimes' Design.
Zoe's experiments with lace from last year.
Zoe's project is far-reaching and has the potential to fit into large empirical and qualitative research projects such as Grow Your Own Clothes research, Cordwainer's Garden, Guerrilla Gardening and Five Lifetimes' Design.
Manda's 'doodle' work and knits, Morley College Summer Show 2012.
Manda Clarke is developing a collection of 'chance outcomes' through knit and print.
She arrived at the Slow Design School with diverse and exuberant 'doodle' drawings that have since become 3D through knit and stitch.
Manda recently bought a secondhand knitting machine on eBay and has been experimenting with online number generators and old knitting punchcards to create 'random' patterns and motifs interlaced with her own 'conscious' design choices.
She is interested in 'seeing' the unconscious processes that emerge aesthetically from this combination of random and cognitive patterning and plans to develop the work further through knit and silkscreen printing.
There is a real playfulness in Manda's work that can stand up ultimately in the gallery setting and can also be developed intellectually for empirical research into the development of conscious and unconscious motif-making in textile artefact for qualitative Craft & Consciousness research purposes (a quick Google search on Craft & Consciousness here, here and here).
Veronica Hertling looks at natural sources to inspire fabric designs for interiors.
She arrived at the Slow Design School with some experience in silk-screen printing and is now developing her design skills, knowledge and language.
Her current focus is trees and bark and these references are being developed for print and embroidery. She is also looking at water molecules for a future geometrics project.
Her main trajectory is in learning and skills development; once these are developed, her desire to create fabrics for interiors may bring her to study the fibre content of her collections and their sustainability implications and meanings.
A potential research route for Veronica lies in developing 'talking textiles' that tell the story of their fibre content; for instance, bamboo cloth might communicate something of bamboo symbolically in print patterns, hemp might communicate the history of hemp, material made from wine something of grapes and or the story of cloth made from coffee beans!
An empirical research project might then ensue where cloth comes to communicate its content, source and lifecycle. Collaboration with companies such as Lenzig who make soft textile fibres from wood pulp might then develop to promote renewable fibre sources, their meanings and effects.
Red Isaac is developing a collection of installations that describe mythological narratives through print and upholstered constructions.
She is interested in 'seeing' the unconscious processes that emerge aesthetically from this combination of random and cognitive patterning and plans to develop the work further through knit and silkscreen printing.
Manda's recent experiments with geometric punchcard knitting, Autumn 2012.
Manda's recent experiments with geometric punchcard printing, Autumn 2012.
Manda's recent experiments with vintage geometric hand-knitting, Autumn 2012.
Susana's colour marks that pre-empt textured surface, Spring 2012.
Susana Fernandez is developing a visual library of hand-drawn, abstract mark-making. This visual 'hand' resource becomes an ongoing reference from which to develop new textiles. The importance of the hand mark in an industry wholly mechanised is a dying trend especially when it comes to print and stitch.
The medium envisaged is print and stitch, however, there is potential for 3D texture and effects.
The medium envisaged is print and stitch, however, there is potential for 3D texture and effects.
Susana arrived at the Slow Design School with sophisticated commercial carpet designs that she made whilst working at the royal carpet manufacturers, Real Fabrica de Tapices, in Madrid.
Her interest now is in 'seeing' the unconscious dynamics that arise through mark-making in order to develop and understand the visual dynamics that are uniquely hers. She is a prolific mark-maker and fills sketchpads with themed marks. Here are some loosely inspired by the Postmodernist marks of the Memphis Group from 1970s and 80s Italy:
In Autumn 2012, Susana is developing her geometric designs into bold embroidery on a dress using Cradle to Cradle methodologies in preparation for The Geometrics exhibition. Watch this space for new photos!
Susana seeks collaboration as part of her sustainable design vision and it may be that there are research possibilities to bridge artisans from Spain, UK and elsewhere in an international project that translates her vision through traditional and new technologies (a quick Google search for European weave and tapestry).
Susana's recent experiments with graphic paint mark-making, Autumn 2012.
In Autumn 2012, Susana is developing her geometric designs into bold embroidery on a dress using Cradle to Cradle methodologies in preparation for The Geometrics exhibition. Watch this space for new photos!
A quick screen grab from Susana's early long stitch before applying couching, Autumn 2012.
Susana seeks collaboration as part of her sustainable design vision and it may be that there are research possibilities to bridge artisans from Spain, UK and elsewhere in an international project that translates her vision through traditional and new technologies (a quick Google search for European weave and tapestry).
Veronica Hertling looks at natural sources to inspire fabric designs for interiors.
She arrived at the Slow Design School with some experience in silk-screen printing and is now developing her design skills, knowledge and language.
Her current focus is trees and bark and these references are being developed for print and embroidery. She is also looking at water molecules for a future geometrics project.
Her main trajectory is in learning and skills development; once these are developed, her desire to create fabrics for interiors may bring her to study the fibre content of her collections and their sustainability implications and meanings.
A potential research route for Veronica lies in developing 'talking textiles' that tell the story of their fibre content; for instance, bamboo cloth might communicate something of bamboo symbolically in print patterns, hemp might communicate the history of hemp, material made from wine something of grapes and or the story of cloth made from coffee beans!
An empirical research project might then ensue where cloth comes to communicate its content, source and lifecycle. Collaboration with companies such as Lenzig who make soft textile fibres from wood pulp might then develop to promote renewable fibre sources, their meanings and effects.
Red Isaac is developing a collection of installations that describe mythological narratives through print and upholstered constructions.
She arrived at the Slow Design School with a collection of bespoke printed chairs she made - each that tells an evocative story. Narrative and atmosphere are central to Red's work as are the symbols of fairytales and archetypal dynamics.
Red is developing a series of gesamtkunstwerk or total works of art where interiors are given the drama of a stage set and atmosphere of timeless poetry. She uses found objects and gives them a new lease of life actually and symbolically. You can see some of her progress here.
There are potential research routes in developing interior spaces for experiential intervention and curatorial story-telling perhaps with Judith Clark at London College of Fashion, Judith Clarke with Adam Phillips and or Simon Costin for Alexander MQueen.
There are potential research routes in developing interior spaces for experiential intervention and curatorial story-telling perhaps with Judith Clark at London College of Fashion, Judith Clarke with Adam Phillips and or Simon Costin for Alexander MQueen.
Sarah Marais is an established artist and psychotherapist. Her work up until 2012 was largely fine art focussed where abstract painted wood panels were her main medium.
She arrived at the Slow Design School with a desire to find a textile community and a space in which to develop decorative applied art techniques and projects.
Sarah has been developing her stitch, quilt, knit and printing skills and looking at how these feel and what new ideas they give rise to.
She was recently awarded funding to begin a PhD study in 'Using Your Hands for Happiness: Crafts Practice as a Means of Building Community Assets, Health and Well-being" in partnership with Arts for Health Cornwall (southwest England) and the University of Falmouth. This opportunity brings her passions and skills together in a way that promise to develop her own work in an interesting direction.
It may be that there is an experiential journey that evolves with her work at the Slow Design School now and a development of techniques that act as a starting point for work with participants in Cornwall. It may be that the quilting and knitting take on a momentum of their own that spurs a new direction for Sarah's personal work with her own engagement and joy in the process. As such, her research at the Slow Design School takes on an empirical aspect where a textiles journal might be kept as a valuable account of her own processes, experience, learning and insights.
She arrived at the Slow Design School with a desire to find a textile community and a space in which to develop decorative applied art techniques and projects.
Sarah has been developing her stitch, quilt, knit and printing skills and looking at how these feel and what new ideas they give rise to.
She was recently awarded funding to begin a PhD study in 'Using Your Hands for Happiness: Crafts Practice as a Means of Building Community Assets, Health and Well-being" in partnership with Arts for Health Cornwall (southwest England) and the University of Falmouth. This opportunity brings her passions and skills together in a way that promise to develop her own work in an interesting direction.
It may be that there is an experiential journey that evolves with her work at the Slow Design School now and a development of techniques that act as a starting point for work with participants in Cornwall. It may be that the quilting and knitting take on a momentum of their own that spurs a new direction for Sarah's personal work with her own engagement and joy in the process. As such, her research at the Slow Design School takes on an empirical aspect where a textiles journal might be kept as a valuable account of her own processes, experience, learning and insights.
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