tag:blogger.com,1999:blog-48460621102608147672024-02-18T17:43:48.404-08:00Bridget HarveyBHhttp://www.blogger.com/profile/03183923142941087869noreply@blogger.comBlogger219125tag:blogger.com,1999:blog-4846062110260814767.post-43140939647442060912018-09-21T06:33:00.003-07:002018-09-26T06:08:29.223-07:00Reimagining the Collection: A Large Box of Loose Parts<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
An excerpt of this text has been published in 'A Narrative of Progress: The Camberwell ILEA Collection', a catalogue accompanying the exhibition of the same name at Camberwell Space from 18th September to 27th October 2018. <a href="https://www.arts.ac.uk/whats-on/a-narrative-of-progress-the-camberwell-ilea-collection" target="_blank">More info here</a></div>
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<span lang="EN-US" style="font-family: inherit;">Due to historic damage, loss of material,
or degradation, selected objects were deaccessioned (formally removed)(1) from
the Camberwell ILEA Collection. Despite this, there is still much that can be
learnt from their material properties, functions and stories. Here Camberwell
students and staff have reimagined select deaccessioned objects in their own
style, inspired and informed by the collection while maintaining the originals
integrity.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: inherit;">COLLECTED<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: inherit;">The Camberwell ILEA Collection relies on
its Curator’s knowledge to maintain its relevance, to be subjective in the best
interests of the collection. Deaccessioning requires great knowledge - of what
is best for the collection and for its users, of what will maintain its
significance and what might muddy it. To uncollect is a big responsibility.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: inherit;">Brian Thill suggests that ‘for waste to be
meaningful as a concept, we must be able to comprehend some manner of
relationship between the waste object and its discarders’ (2). Something seen
by the Curator meant that these objects, though deaccessioned, did not become
waste. Instead they were passed to another who recognised significance and
potential in them, as raw material rather than ended objects.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: inherit;">DISPOSED<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: inherit;">The deaccessioned objects include parts
(lids, bases, unidentified pieces), whole but damaged objects, fabric and paper
pieces too far gone to be safe to use, and a couple of objects which have
reimagined themselves (the yellow plate). In the unstable moment of disposal,
they became ‘loose parts’, and their large box an environment where
‘inventiveness and creativity, and the possibility for discovery, are directly
proportional to the number and kind of variables in it'. (3)<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: inherit;">Studios, although often full of variables
related to discipline (tools and materials, bits and pieces), could be
considered ‘static and impossible to play around with’ rooms full of familiar
stuff. An attempt has been made here to throw loose parts into our studio
practices, to see the objects afresh, and to shape some making around them. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: inherit;">SALVAGED<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: inherit;">While considering the significance and
history of the collection, and materials and processes embodied by the objects,
they have been changed in dynamic, and perhaps irreversible ways. Words such as
complete, repair, manipulate, narrative and agency have been uttered. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: inherit;">These ‘objects in transit’ (4) have been
(re)made into something familiar, tangible or knowable, and the skill is not
just in the making itself, but also in the respect paid to the original
(perhaps unknown) maker. The (re)makers were asked to consider biographies
(real or imagined) of these often mass-manufactured objects, and think about
conservation and patina, to step away from multiplicities or duplications, in
order to create unique recrafted objects, simultaneously elevating the original
maker back in to the picture.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: inherit;">The relationship between collecting,
disposal and salvage, is complex and tensioned, as are ideas of value
associated with machine-made and hand-made objects, known and unknown makers. The
Camberwell ILEA Collection was designed for exploring - for attempting to
understand these tensions. Loose parts are inherently in it, waiting to be
picked up, tuned over, handled. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: inherit;">The (re)makers were asked to colour outside
the lines of the original, but not to obscure what was there before. This is
not the ‘self-effacing nature of repair’(5), or the radical change of
recycling. Walter Benjamin suggests that ‘the here and now of the original
constitute the abstract idea of its genuineness’(6). These reimagined objects,
having been twice made, contain the here and now of the original and that of
the new original making, further abstracting ideas of genuineness. They have
avoided the trashcan, yet remind us of the existence of it. <o:p></o:p></span></div>
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<span lang="EN-US"><span style="font-family: inherit;">The acts of (re)making here, akin to the
Camberwell ILEA Collection itself, and the interests of the Curator, teeter in
a space between respect for the past and interest in the future. What could be
considered a plethora of remnants has been examined in a different context, as
raw material, albeit steeped in cultural history, to re-situate them as parts,
no longer loose. </span><o:p></o:p></span></div>
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1) <a href="https://collectionstrust.org.uk/spectrum/procedures/deaccessioning-and-disposal-spectrum-5-0/">https://collectionstrust.org.uk/spectrum/procedures/deaccessioning-and-disposal-spectrum-5-0/</a><br />
<br />
2) Thill, B. (2015) Waste. Bloomsbury Academic, London/New York. p55 <br />
<br />
3) Nicholson, S. (1972) The Theory of Loose Parts, An important principle for design methodology. in Studies in Design Education Craft & Technology, volume 4, number 2. Found at <a href="https://ojs.lboro.ac.uk/SDEC/article/view/1204">https://ojs.lboro.ac.uk/SDEC/article/view/1204</a> (accessed 6th July 2018)<br />
<br />
4) Gamper, M. (2015) Martino Gamper: Action Man. pp52-59 in Crafts Magazine. issue 257. London<br />
<br />
5) Adamson, G. (2015) From Me To You: A Personal Account of Craft Curation. pp64-81 in Documents on Contemporary Crafts, no. 3: Crafting Exhibitions. Norwegian Crafts, Norway p71<br />
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6) Benjamin, W. (2008: 1936) The Work of Art in the Age of Mechanical Reproduction. Penguin Books, London p5BHhttp://www.blogger.com/profile/03183923142941087869noreply@blogger.com0tag:blogger.com,1999:blog-4846062110260814767.post-28130868660284779262018-01-13T14:28:00.002-08:002018-01-15T08:08:50.042-08:00FixFest Lightening Talk<div class="MsoNormal" style="margin-right: -.05pt;">
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<span lang="EN-US" style="background: rgb(255, 255, 255);"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">In October 2016 I gave a lightening talk at the alltogether awesome weekend called <a href="https://fixfest.therestartproject.org/" target="_blank">FixFest</a>. Organised by <a href="https://therestartproject.org/" target="_blank">The Restart Project</a>, it was a gathering of repair-heads from all over the world, speaking about community work, practical skills, lobbying for change and generally hvaing a ball. It also saw the launch of the <a href="https://openrepair.org/" target="_blank">Open Repair Alliance </a>and the first International Repair Day (21st October 2017, to fall on the 3rd Saturday of October forevermore!).</span></span></div>
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<span lang="EN-US" style="background: rgb(255, 255, 255);"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">At a mere 5 minutes each, the lightening talks covered all sorts of topics from our very own the background of our Hackney Fixers to tool hacking to departmental/governmental involvement/co-option of repair parties. Below is my soap-box stance...</span></span></div>
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<u><span lang="EN-US" style="background: rgb(255, 255, 255);"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Repairing
together: unlearning, sharing, changing<o:p></o:p></span></span></u></div>
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<span style="font-size: small;"><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">Leaning on a couple of ideas from an
essay called Continuous Design and Redesign by John Chris Jones, what follows is a </span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">somewhat
affirmative but mild polemic about repairing together.</span></span></div>
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<span lang="EN-US" style="background-color: white;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">I’m going to start from this quote:<o:p></o:p></span></span></div>
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<span style="background-color: white;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><span lang="EN-US">'It’s so hard to unlearn, and unlearning
is the essence of designing.</span><span lang="EN-US"> </span><o:p></o:p></span></span></div>
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<span style="background-color: white;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><span lang="EN-US">To share the design process with users
is not as easy as it sounds.</span><span lang="EN-US"> </span><o:p></o:p></span></span></div>
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<span lang="EN-US" style="background-color: white;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">It needs a change of roles, of
self-images, on both sides.'<span style="color: magenta;">1</span><o:p></o:p></span></span></div>
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<span style="background-color: white;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><span lang="EN-US">As repairers we are simultaneously <span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">unlearning</span> while we
learn. <span style="mso-spacerun: yes;"> </span>Rather than making something new,
we intervene with that which already exists. </span><span lang="EN-US">these</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> interventions potentially display our politics: they are slogans
not shouted but made. </span><span lang="EN-US">They show interdependences, and repair-making is an informative act in the midst of object lives, rather
than a finalising design.</span><span lang="EN-US"><o:p></o:p></span></span></span></div>
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<span style="font-size: small;"><span style="background-color: white;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US">By understanding
that breakdown often stimulates innovation</span></span></span><span style="background-color: white; color: magenta; font-family: "arial" , "helvetica" , sans-serif;">2</span><span lang="EN-US" style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">, and that repair-making can develop
understandings</span><span style="background-color: white; color: magenta; font-family: "arial" , "helvetica" , sans-serif;">3</span><span lang="EN-US" style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">, we can understand </span><span lang="EN-US" style="background: rgb(255 , 255 , 255); font-family: "arial" , "helvetica" , sans-serif;">repaired objects as personal, political, active and
rebellious.</span><span lang="EN-US" style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;"> Also,
importantly to me, it can develop, refresh and promote ways of working against
obsolescence and waste, while also building communities.</span></span></div>
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<span style="font-size: small;"><span style="background-color: white;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US">Fixing things and <span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">sharing</span> fixing skills,
means one becomes what John Chris Jones calls a ‘professional encourager’: working
with people - encouraging engagement with the repair and the idea of repairing.
</span><span lang="EN-US">We also begin to
share the ‘decisional burden’<span style="color: magenta;">4</span></span></span></span><span lang="EN-US" style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;"> of repair as a user activity and service. In this volunteer role, we</span><span lang="EN-US" style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">
accept what Jones calls the roughness of nonprofessionals, working with
materials to hand, and work already done.</span><span lang="EN-US" style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;"> </span><span lang="EN-US" style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;"> </span><span lang="EN-US" style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">As such I feel repair puts the process back in to the object. Repairing permits us to give up control, to work
with the existent, c<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">hanging
our roles </span>to work in a collaborative and facilitative way.</span></span></div>
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<span style="font-size: small;"><span style="background-color: white;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US">Reading Erich
Fromm’s writing about obedience and disobedience, I think repairing is both 'obedient' to a 'reason or conviction (autonomous obedience)' of being anti-waste,
and disobedient to those of our consumer culture, where, according to Fromm, 'obedience to a person, institution or power (heteronomous obedience) is
submission.'<span style="color: magenta;">5</span></span></span></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;"> To volunteer and share our repair skills
is to push back, it is to act both obediently to ourselves, and disobediently,
against blind capitalist consumerism.</span></span></div>
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<span style="font-size: small;"><span style="background-color: white;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US">This in turn embraces Fromm’s </span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">mode of <i style="mso-bidi-font-style: normal;">being</i> by which he means to '</span><span lang="EN-US">to share, to give, to sacrifice - that owes its strength to the
specific conditions of human existence and the inherent need to overcome ones
isolation by oneness with others.' </span><span lang="EN-US">Volunteering as a repairer can therefor be considered a form of mutual
aid - a anarchist principle of 'cooperation and generosity and solidarity.'</span></span></span><span style="background-color: white; color: magenta; font-family: "arial" , "helvetica" , sans-serif;">6</span></span></div>
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<span style="font-size: small;"><span lang="EN-US" style="background-color: white;"><span style="font-family: "arial" , "helvetica" , sans-serif;">On a slightly
different note, Neil Cummings suggests generosity as a way to 'overwrite
scarcity with abundance', advocating we 'keep giving and receiving.'<span style="mso-spacerun: yes;"> </span>He calls this 'radical generosity.'</span></span><span style="background-color: white; color: magenta; font-family: "arial" , "helvetica" , sans-serif;">7</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;"> Volunteering
could also be considered a form of radical generosity that could overwrite
emotional and material scarcity, and create connections needed for well-being.</span></span></div>
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<span style="font-size: small;"><span lang="EN-US" style="background-color: white;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The key elements for well-being<span style="mso-spacerun: yes;"> </span>are listed by positive psychologist Martin
Seligman as being positive emotion, engagements, relationships, meaning, and
achievement.<span style="mso-spacerun: yes;"> </span>He says that these elements
are subjective and objective, and in order to fulfil them, we must engage
positively with others.<o:p></o:p></span></span><span style="background-color: white; color: magenta; font-family: "arial" , "helvetica" , sans-serif;">8</span></span></div>
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<span lang="EN-US" style="background-color: white;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">So potentially
this volunteering goes further than just encouraging repair. It creates social ties, via group activity and showings
of generosity and skill. These ties become
firm through repetition, and <span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">create deposits of abilities
and</span> accessible knowledge hubs<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">.</span><o:p></o:p></span></span></div>
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<span style="font-size: small;"><span style="background-color: white;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US">So
to sum up, by repairing together we </span><span lang="EN-US">contribute to the repair movement for the post-abundance era. </span><span lang="EN-US">Stewart Brand states that maintenance is material learning</span></span></span><span style="background-color: white; color: magenta; font-family: "arial" , "helvetica" , sans-serif;">9</span><span lang="EN-US" style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">: </span>I posit repair as
being material, social and environmental learning. The connections made through
repairing </span><span lang="EN-US" style="background: rgb(255 , 255 , 255); font-family: "arial" , "helvetica" , sans-serif;">‘de-garbage’</span><span style="background-color: white; color: magenta; font-family: "arial" , "helvetica" , sans-serif;"> </span><span lang="EN-US" style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">materials and knowledge</span><span style="background-color: white; color: magenta; font-family: "arial" , "helvetica" , sans-serif;">10</span><span lang="EN-US" style="background: rgb(255 , 255 , 255); font-family: "arial" , "helvetica" , sans-serif;">, and redefine ownership,
values and power</span><span lang="EN-US" style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">.</span></span></div>
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<span style="background-color: white;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><span lang="EN-US">Repair is a Resilient act,</span><span lang="EN-US"> material and social; local, adaptive and sharing. It is an act of
obedience to ones self and ones communit(ies), and disobedient to hegemonic practices
which do not serve the common good. </span><span lang="EN-US">Jointly
we explore the professionally encouraged roughness of Do It Together repairing
and community building, and </span><span lang="EN-US">we cultivate the
generous, connected mode of being. I propose that through repairing we actively
chose to do this.<o:p></o:p></span></span></span></div>
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<ol>
<li><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Jones, John Chris (1991) <i>Continuous Design and Redesign </i><span style="background-color: white;">(pp190-216)</span><span style="background-color: white;"><i> </i>in <i>Designing Designing.</i> </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">Architecture Design and Technology Press, London</span></span></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Jackson, Steven (2014) <i>Rethinking Repair.</i><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"> </span><a href="https://sjackson.infosci.cornell.edu/RethinkingRepairPROOFS(reduced)Aug2013.pdf" target="_blank">can be read here</a></span></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Dant, Tim (2010) <i>The Work of Repair: Gesture, Emotion and Sensual Knowledge. </i><a href="http://www.socresonline.org.uk/15/3/7.html" target="_blank">can be read here</a></span></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><o:p><span style="font-family: "arial" , "helvetica" , sans-serif;">Graham, Stephen , Thrift, Nigel (2007) </span></o:p><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><i>Out of Order: Understanding Repair and Maintenance. </i><a href="http://tcs.sagepub.com/content/24/3/1" target="_blank">can be read here</a></span></span></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Fromm, Erich (1981) <i>On Disobedience and Other Essays. </i><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">The Seabury Press, New York</span></span></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Portwood-Stacer, Laura (2013) <i>Lifestyle Politics and Radical Activism. </i><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">Bloomsbury, London</span></span></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Cummings, Neil (2015) <i>Generosity</i> in streiricher, herbst., Malzacher, Florian <i>Truth Is Concrete: A Handbok for Artistic Strategies in Real Politics. </i>Sternberg Press, Berlin.</span></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Seligman, Martin (2011) <i>Flourish: A New Understanding of Happiness and Well-Being and How to Achieve Them. </i><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">Nicholas Brealey Publishing, London</span></span></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Brand, Stewart (1997) TV show: <i>How Buildings Learn - 5 of 6: The Romance of Maintenance.</i><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"> </span><a href="https://www.youtube.com/watch?v=j_dozoqw4To" target="_blank">can be watched here</a></span></li>
<li><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Scanlon, John (2005) <i>On Garbage. </i><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">Reaktion Books, London.</span></span></li>
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BHhttp://www.blogger.com/profile/03183923142941087869noreply@blogger.com0tag:blogger.com,1999:blog-4846062110260814767.post-3170733927126973462016-09-06T00:44:00.001-07:002016-09-06T00:44:27.216-07:00The Big Fix 2016, 17th September, Stoke Newington Library<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiambig7DcJmVfKTCInZ9gIYYaftwXiBbE4YdWJo-4jvKCpzyB3AlkLVVzUhahdw3EuKftmZG9O_Q2_j1xtzr5kWTsOfM2M-M0ds8kP_xN948umZp7lC7Y3RdUIE76YiHIeTj1As7ufHLo/s1600/unnamed.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiambig7DcJmVfKTCInZ9gIYYaftwXiBbE4YdWJo-4jvKCpzyB3AlkLVVzUhahdw3EuKftmZG9O_Q2_j1xtzr5kWTsOfM2M-M0ds8kP_xN948umZp7lC7Y3RdUIE76YiHIeTj1As7ufHLo/s640/unnamed.jpg" width="451" /></a></div>
<br /><br /><br /><div>
Hackney Fixers is excited to announce Hackney’s second festival of fixing, <a href="http://sustainablehackney.org.uk/events/hackney-fixers-the-big-fix-1" target="_blank">THE BIG FIX</a>, to be held at the Gallery, Stoke Newington Library, Edward's Lane N16 0JS on Saturday 17th September from midday to 4pm.<br /><br /><br /><br />We will once again be cramming as much repair activity as possible into one space, featuring:<br />The Restart Project, electrical and electronic repair<br />Traid: clothing and textile repair and upcycling<br />School of Stuff: chair repair advice<br />Hackney Bike Workshop: cycle checks and repairing<br />Plus Sugru, repair demonstrations and more.....<br /><br /><br /><br />Bring, fix, learn, enjoy...and it's free! </div>
BHhttp://www.blogger.com/profile/03183923142941087869noreply@blogger.com0tag:blogger.com,1999:blog-4846062110260814767.post-79274715007658482302016-07-17T01:55:00.003-07:002016-07-17T01:55:47.354-07:00Experiencing Change / Changing Experience at ONCA Gallery, Brighton<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: inherit; font-size: x-small;">Bricoleur Cup from the Spelman Cup series (2016)</span></div>
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<b><span lang="EN-US" style="font-size: 12pt;"><span style="font-family: inherit;">I am exhibiting in Experiencing Change / Changing Experience at <a href="http://onca.org.uk/upcoming-exhibitions/august-experiencing-change-changing-experience/" target="_blank">ONCA Gallery, Brighton</a> from 27th July –5th August 2016. I am exhibiting my Spelman Cups (2016) and an accompanying text. This work explores Elizabeth Spelman's definitions of non-repairers, and our complex relationship to repair.</span></span></b></div>
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<span style="font-family: inherit;"><span lang="EN-US" style="font-size: 12pt;">From the press release:</span><span style="font-size: 12pt; line-height: 19pt;">What changes have you seen? | What makes you change? | What is change for? | What would you change? | Why do we resist change? | What makes us accept change?</span></span></div>
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<span style="font-family: inherit;"><span lang="EN-US" style="font-size: 12pt;">International artists from </span><span lang="EN-US" style="font-size: 12pt;">the <a href="https://e-collective.co/" target="_blank">e:collective</a> launch </span><span lang="EN-US" style="font-size: 12pt;">their debut exhibition of new work exploring relationships with change on a social, economic, environmental and personal level. The exhibition will challenge, enact, refresh and stimulate our perceptions and thoughts on change, and will be viewed alongside current research by scientists at the Global Sustainability Institute, Anglia Ruskin University, Cambridge.</span><span lang="EN-US" style="font-size: 12pt;"><o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><span lang="EN-US" style="font-size: 12pt;">During the exhibition, artists in residence Mark Vennegoor and Aurora Sciabarra will each develop new work in the gallery, inviting visitors to participate in their practice.</span><span lang="EN-US" style="font-size: 12pt;"><o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><i><span lang="EN-US" style="font-size: 12pt;">Experiencing Change | Changing Experience </span></i><span lang="EN-US" style="font-size: 12pt;">investigates a world where environment and society is in a state of flux with large, and sometimes devastating changes predicted for the future. Change can seem inevitable or out of our hands, so how much influence do we have on change? Do we just react to the changes we experience or can we intervene?<o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><span lang="EN-US" style="font-size: 12pt;"> </span><span style="font-size: 12pt; line-height: 19pt;">This project is devised by lead artist Valerie Furnham in collaboration with researcher Dr. Rosie Robison [GSI], and with the support of Arts Council England, ONCA Gallery and <a href="http://www.anglia.ac.uk/global-sustainability-institute-gsi" target="_blank">The Global Sustainability Institute.</a></span></span></div>
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<span style="line-height: 19pt;"><span lang="EN-US" style="font-size: 12pt;"><span style="font-family: inherit;"><a href="http://onca.org.uk/upcoming-exhibitions/august-experiencing-change-changing-experience/" target="_blank">ONCA Gallery | 14 St. George’s Place, Brighton BN1 4GB</a><br /></span></span></span></div>
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<b><span lang="EN-US" style="font-size: 12pt;"><span style="font-family: inherit;">PREVIEW | Tuesday 26th July 6:30pm – 9pm. Please RSVP to valerie.furnham@gmail.com</span></span></b><span lang="EN-US" style="font-size: 12pt;"><o:p></o:p></span></div>
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BHhttp://www.blogger.com/profile/03183923142941087869noreply@blogger.com0tag:blogger.com,1999:blog-4846062110260814767.post-84696183701254061692016-05-15T11:07:00.002-07:002016-05-15T11:12:53.512-07:00TRAIDtalks: Repair In The Community (23/6/16)<div style="direction: ltr; margin-bottom: 0pt; margin-left: 0in; margin-top: 0pt; text-align: right; unicode-bidi: embed; word-break: normal;">
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<span style="font-family: inherit;"><span style="font-size: x-small;">Photo of TRAID mending activist meet up, April 2016, by Sarah Klymkiw</span></span></div>
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<span style="font-family: inherit;"><span style="font-size: 12pt;"> </span><span lang="EN-US"><o:p>"</o:p></span>Crucial to every society is the kind of union and solidarity it fosters and the kind it <span style="font-style: italic;">can </span>further, </span><span style="font-family: inherit;">under the given conditions of its socioeconomic structure."</span></div>
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<span style="font-family: inherit; font-size: xx-small;">Erich Fromm, To Have or To Be? p108</span></div>
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<span style="font-family: inherit;"><span style="font-size: 12pt;">On Thursday, 23 June (18:30 to 20:00) I</span><span style="font-size: 12pt;"> am really excited to be speaking at the eighth <a href="https://twitter.com/hashtag/TRAIDtalks?src=hash" target="_blank">#</a></span><span style="font-size: 12pt;"><a href="https://twitter.com/hashtag/TRAIDtalks?src=hash" target="_blank">TRAIDtalks</a></span><span style="font-size: 12pt;"> along with 2 other
leading voices with unique viewpoints on Repair In The Community. </span></span></div>
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I will talk about the landscape and politics of repair-making. Through my studio and collaborative practice I am contributing to repair narratives for the post-abundance era, and the emergent repair movement. <br />
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Repair is a resilient act, it is material and social; local, adaptive and sharing. As an act of obedience to the self and ones communities, it is also disobedient to hegemonic practices which do not serve the common good.* Personally, I see the connections made through repair-making as redefining ownership, choices, values and power. Through repair-making we actively chose to explore, together, DIY repairing and community building, and we can cultivate a generous, connected mode of being.<br />
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<span lang="EN-US" style="font-size: 12.0pt; mso-bidi-font-size: 11.0pt;"><span style="font-family: inherit;">The other speakers for the evening are Janet Gunter, co-founder of
the <span style="color: windowtext;"><a href="https://therestartproject.org/" target="_blank">RestartProject</a></span> and blogger Jen Gale from <span style="color: windowtext;"><a href="http://mymakedoandmendlife.com/" target="_blank">My MakeDo And Mend Life</a></span>. We are part of a passionate network of active citizens making headway with
the repair movement - sharing skills to benefit the community with an aim to
tackle waste and counter over-consumption and working to inspire a repair
revolution with wellbeing, skill-sharing, community and concern for the
environment at the very root. To revive the forgotten art of repairing
things and improving relationships with 'stuff', this #TRAIDtalks will involve
story-telling and sharing case studies to inspire positive change within
communities.<o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><span lang="EN-US" style="font-size: 12pt;"><a href="http://www.traid.org.uk/" target="_blank">TRAID</a></span><span lang="EN-US" style="font-size: 12.0pt; mso-bidi-font-size: 11.0pt;"> is a fashion reuse charity working to stop clothes from being thrown
away. They turn clothes waste into funds and resources to reduce the
environmental and social impacts of our textile use.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-bidi-font-size: 11.0pt;"><span style="font-family: inherit;">Spaces are limited so please book early to avoid disappointment.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-bidi-font-size: 11.0pt;"><span style="font-family: inherit;"><span style="color: windowtext; text-decoration: none; text-underline: none;"><a href="https://www.facebook.com/events/1537180616591161/">https://www.facebook.com/events/1537180616591161/</a></span><o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-bidi-font-size: 11.0pt;"><span style="font-family: inherit;"><span style="color: windowtext; text-decoration: none; text-underline: none;"><a href="https://www.eventbrite.co.uk/e/traidtalks-repair-in-the-community-tickets-25409059180">https://www.eventbrite.co.uk/e/traidtalks-repair-in-the-community-tickets-25409059180</a></span><o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-bidi-font-size: 11.0pt;"><span style="font-family: inherit;">Suggested donation on the door: £5 to support Ziferblat, a shared
community space in Old Street, cash or card payments accepted.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-bidi-font-size: 11.0pt;"><span style="font-family: inherit;">Refreshments will be provided.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-bidi-font-size: 11.0pt;"><span style="font-family: inherit;">Please support TRAID’s work by bringing a bag of your unwanted wearable
clothes, shoes and accessories for reuse and reselling through their charity
shops. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-bidi-font-size: 11.0pt;"><span style="font-family: inherit;">Ziferblat - First Floor 388 Old Street, London, EC1V 9LT <br />
Please note the venue is on the first floor and does not have wheelchair
access. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-size: 12.0pt; mso-bidi-font-size: 11.0pt;"><o:p><span style="font-family: inherit;"> * see this blog post for <a href="http://bridgetharvey.blogspot.co.uk/2016/05/by-thread-at-gawthorpe-hall.html" target="_blank">more on obedience and disobedience</a></span></o:p></span></div>
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BHhttp://www.blogger.com/profile/03183923142941087869noreply@blogger.com0tag:blogger.com,1999:blog-4846062110260814767.post-55767727020260994902016-05-02T11:43:00.002-07:002016-05-09T01:10:58.881-07:00...by a thread... at Gawthorpe Hall<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZnbr3xgIsMlerFniLiX_C8iq9K8u9Oi2jCPaDxTRgBw5DaPwFVmBzVcvMJp7atT3fRGogX0SE2pCOmmolL3dsrdcBtmr2IRhl3FHrnMRKAthtrse_U3unpXn2GCe_UnR0SGZ9rFyXuA4/s1600/Blue+Jumper+on+body.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZnbr3xgIsMlerFniLiX_C8iq9K8u9Oi2jCPaDxTRgBw5DaPwFVmBzVcvMJp7atT3fRGogX0SE2pCOmmolL3dsrdcBtmr2IRhl3FHrnMRKAthtrse_U3unpXn2GCe_UnR0SGZ9rFyXuA4/s320/Blue+Jumper+on+body.jpg" width="320" /></a></div>
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<span style="background-color: white;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Blue Jumper (2012 ongoing) woollen jumper, hand dyed viscose threads. </span></span></div>
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My Blue Jumper (2012, ongoing) is in an exhibition of "thoughtfully mended textiles", called ...by a thread... at <a href="http://www.gawthorpetextiles.org.uk/" target="_blank">Gawthorpe Hall</a> until 19th June 2016.<br />
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The exhibition aims to explore ideas around mending, after a year of building renovation and repair at the hall itself. From the curator: <br />
"While the stonework within the Hall was being mended - quite invisibly - we became interested in repair which did the opposite. We started looking for examples of mending which were visible and actually made a feature of wear and tear. We discovered that with textile items, repair can be storytelling, creative and commemorative. It can add something extra and bring new meaning and emotion to an object. It can tell us more about people, history, memories and lives."<br />
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The artefacts exhibited in ...by a thread... all display thoughtful and careful repairs, and include Karen Suzuki’s rescued teddy, Jacy Wall’s Japanase boro jacket, David Worsley’s darned jeans, Angela Maddock’s repaired Wrangler jacket and Jenni Steele’s 1930s nurse’s apron, along with Claire Wellesley-Smith’s Japanese boro bloomers and Coreen Cottam’s family quilt. Each comes with a story written by the lender, explaining why the process and act of repair is significant to them.<br />
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<i>About Blue Jumper</i><br />
I consider Blue Jumper, a heavily darned navy blue jumper, to be a performative artwork that I wear and work on. I found it in pristine condition, in a charity shop off Old Street, London, now Blue Jumper is heavily darned yet still worn. As environmentalist I am anti-waste, and I wear only second-hand wool. When moths ate Blue Jumper, I continued wearing it. <br />
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This garment can be considered disobedient, and it certainly has a disobedient wearer. Repairing is both “obedient” to my own “reason or conviction (autonomous obedience)” of being anti-waste and pro-circularity, and disobedient to those of our consumer culture, where “obedience to a person, institution or power (heteronomous obedience) is submission” (Fromm 1981, p19). My stitched intervention displays my politics: my slogan not shouted but darned. Blue Jumper is personal, political, active and rebellious. <br />
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Arguably our dominant culture is what Erich Fromm describes as having - with principles around ownership, gains and growth. To repair together (I began the darning on this jumper with <a href="https://tomofholland.com/" target="_blank">tomofholland</a>, simultaneously beginning our friendship) is to push back (that act of obedience/disobedience) against capitalist consumerism and embrace Fromm’s mode of being – “to share, to give, to sacrifice - that owes its strength to the specific conditions of human existence and the inherent need to overcome ones isolation by oneness with others” (1984, p108). <br />
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I find myself resilient against pressure to buy new: I can, I will, I am, through choice and necessity, wearing, repairing and re-wearing. In celebration of resistance and autonomy, like Plutarch’s Ship of Theseus, I will keep repairing Blue Jumper until all is repair, and beyond.<br />
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Fromm, E. (1981) On Disobedience and Other Essays. New York: The Seabury Press.<br />
Fromm, E. (1984) To Have or To Be. London: Abacus, Sphere Books<br />
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BHhttp://www.blogger.com/profile/03183923142941087869noreply@blogger.com0tag:blogger.com,1999:blog-4846062110260814767.post-20209938240998076812016-02-22T04:46:00.000-08:002016-02-22T04:48:23.663-08:00'Sides to Middle: My Way of Working' in Mending Revealed <div class="separator" style="clear: both; text-align: center;">
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<br /><br />Repair is a material act. It starts from that which is already in existence, enters into the objects narrative part way through, a late arrival to the tale. However familiar the act of repairing may become, individual damages always have their own characters; breaks always need personal consideration before repair can begin. The repairer must make decisions, write their part of the story.<br /><br /><div>
My role as repairer is long standing. From stitching patches on my clothes to gluing unfortunate objects, the act of repair and I have a deep relationship. I am fascinated by repair, and by the brokenness which requires repair, which repair requires in order to exist.<br /><br />Where sides to middle refers to the practice of splitting sheets through worn middles, and stitching the good sides together, through my practice and my artefacts I seek to understand ownership materially and emotionally, moving both process and object from the sides to the middle. My focus is on materials with previous existences and their palimpsests: I look to recast things through making, remaking and repairing.<br /><br />In The Craftsman, Richard Sennett suggests that 'a model is a proposal rather than a command. Its excellence can stimulate us, not to imitate but to innovate.' (2009, p101) Through the creation of repair models, I propose ways of approaching repair and repairing, sometimes functionally, sometimes not. My repaired or remade objects are considered but not excellent per say, through my work I have rendered many of them not-excellent, possibly even anti-functional. My mends are idiosyncratic - some verge on idiotic - they do not make the object typically useful again. <br /><br />When I hang my plates on a wall in a gallery, I am aware of the difference to using them to eat from at home. I am aware of their potential position as aesthetic stance only, whatever my intention. These plates and their mends are actuals and potentials, stories and ideas. Stimulation is their aim: to act as provocateur or goad, questioning us questioning them. <br /><br />Some of my work will be in the exhibition Mending Revealed at Bridport Arts Centre from 4th March - 16th April 2016. I will be speaking about it on 12th March, in the gallery space.<br /><br /><a href="https://www.bridport-arts.com/events/mending-revealed/" target="_blank">https://www.bridport-arts.com/events/mending-revealed/</a><br /><br /><br /> <br /><br /><br /><br /><br /><div class="MsoNormal">
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BHhttp://www.blogger.com/profile/03183923142941087869noreply@blogger.com0tag:blogger.com,1999:blog-4846062110260814767.post-13327691829573653702016-01-21T00:30:00.000-08:002016-01-21T04:23:53.943-08:00Little Brown Jug<div style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 12.8px;">
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<span style="font-size: 12.8px;">You are found outside a junk shop, cold.</span></div>
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You came here in a bag, paper.</div>
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Placed on my desk, gently.</div>
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Would anyone else have exchanged cash for you? You have issues, you're not fit for purpose. Your use value is diminished, eliminated to most.</div>
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Your previous life is a mystery but here's what I know:</div>
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<span style="font-size: 12.8px;">It began with care, and ended undignified and uncared for, discarded. Yet in some way you are not completely lost. </span><span style="font-size: 12.8px;">The lines raised in your handle. Your neck, beyond chipped - a vital part of you gone. You were turned, not cast. Your spout worked after. The potter's pun on modesty: a leaf covering the join between your handle and body. You are simple but detailed. Not one tone but two - glossy brown and creamy grey.</span></div>
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I assume you were used. I assume you were broken in use. Even your sharp edges are smooth. Your missing piece revealing your material nature. Where is that splinter, the fragment which would complete you?</div>
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Now you wait for me. You have lived here, in my studio, for six months, but only now do I know your future. Your quiet motionless stance asks me 'what next?'. Your new life will be different. Will it fulfil your true purpose? Probably not, although it won't negate it or ignore it. It might question you, but, more importantly, you will question us. You will be seen, visible, rather than used, invisible. Your break, your journey, has altered your purpose in more ways than one.</div>
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<span style="font-family: inherit;">This jug, mended, will be part of my installation <i>Sides to Middle </i></span></div>
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<span style="font-family: inherit;">in <i>Mending Revealed</i> at Bridport Arts Centre, opening 4th March</span></div>
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BHhttp://www.blogger.com/profile/03183923142941087869noreply@blogger.com0tag:blogger.com,1999:blog-4846062110260814767.post-25987935662865843412016-01-01T08:37:00.003-08:002016-05-31T02:45:42.228-07:00Breaking Things Better: When a deliberate break is actually a repair<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicJbAnTnMUoFQqEpzw3Gbe_kCOcOlyEZk2abBcZ0jqG6BSgPx7rqqWQTqSBt5iErHquslMhCEmCbVziFWpAkABo6gB7aM5ecdtzDJ73-kC2ZrqmteJtqzt_wudnJyu7Qb9arrbqgfZ0-c/s1600/green+dress+2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicJbAnTnMUoFQqEpzw3Gbe_kCOcOlyEZk2abBcZ0jqG6BSgPx7rqqWQTqSBt5iErHquslMhCEmCbVziFWpAkABo6gB7aM5ecdtzDJ73-kC2ZrqmteJtqzt_wudnJyu7Qb9arrbqgfZ0-c/s400/green+dress+2.JPG" width="400" /></a></div>
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<span style="font-size: x-small;">Green Dress, ongoing</span></div>
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This dress was my mothers. Before that (and maybe after too), it belonged to my Gran. At some point it became mine. My mother is shorter than me, her mother was shorter still. Both broader than me, and more softly shaped than my boney form. Their bodies similar, mine different. The inside of this garment shows the changes made by all our hands to fit all our selves, although my changes alter less. The removed then re-attached hem (re-moved? as in moved back?) - for my diminutive Gran, my slightly taller mother. It suits me at either length. There are small ribbons inside the straps, to hold them on Gran's self-proclaimed sloping shoulders - neither my mother or I removed those scraps of fabric. The side seam has been moved several times, again I just leave it. My only real task with this dress has been to sew buttons back on when necessary. <br />
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<span style="font-size: x-small;">Green Dress detail, ongoing</span></div>
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So is this repair? Or is this adjustment? Adaption? Customisation? Something else entirely? We have repaired it to our own needs - without these small adjustments the dress would not have worked - it would have been broken, perhaps.</div>
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'Breaking things may lack the positive associations that repairing things has - "Do you want me to repair that?" will almost always be a more attractive request than "Do you want me to break that?" But look around contemporary culture and you'll find that we're not always consistent in our relationship with the word.'<span style="font-size: x-small;">*</span></blockquote>
After this, Scott Burnham goes on to discuss the idea of breaking things better, using the example of a pool cue, snapped so it can be used to play in the corner of a room without hitting the wall.<br />
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That brokenness is subjective is an interesting suggestion, the understanding of when something is broken is complex and oblique. In our case - the green dress - the unchanged dress was broken for my Gran - too long - then the changed dress was twice broken for my mother - too short and too wide. In narrowing and lengthening it for herself she broke it for her mother. The works I have done to it are more traditional, more understandable as mends, repairs - sewing buttons back on - however the dress <i>works </i> without most of the buttons - it only really needs one. Thus, in some sense at least, my repairs are the least essential, the dress functions as dress with or without my labour, but without my work my mother and Grandmother would not have worn it, rendering it unused (broken again). But from outside of this journey, at what point would the dress have looked broken or damaged?<br />
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This renders the green dress something of an eddy, curling in and back on itself, and this discussion potentially unending, but I feel this illustrates the complexities of repairing, and the layers that build around and through object ownership and use.<br />
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<span style="font-size: x-small;">*Scott Burnham in: </span><span style="font-size: x-small;">van der Zanden, Joanna (2011) <i>Curatorial Cooking: The design practice of Platform21 Amsterdam </i>Artez Press, Premsela, Dutch Platform for Design and Fashion, and d'Jonge Hond Publishers; Holland.</span></div>
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<span style="font-size: x-small;"><a href="http://scottburnham.com/">http://scottburnham.com/</a></span></div>
BHhttp://www.blogger.com/profile/03183923142941087869noreply@blogger.com0tag:blogger.com,1999:blog-4846062110260814767.post-10547786670117620322015-12-11T02:21:00.000-08:002016-04-27T05:20:48.515-07:00Superglue Plate, Centering and Objects<div class="separator" style="clear: both; text-align: center;">
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<i><span style="font-size: x-small;">Superglue Plate, 2014</span></i></div>
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The mends I made as a child were playful,
rough and amateur: visually, you could see my young hand. This aesthetic has not left me or my work. </div>
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Superglue and I have a long history. It lived in the drawer of stuff, the drawer
where the string ends, odd pegs, letter openers, the random-detritus-of-life
drawer. Really, it was a bricoleurs
heaven – when I needed something for something, it was there I would find it. The superglue would be in there, in a
crumpled metal tube, with a pin in its long nozzle to prevent it from
blocking. Always, I would hold the tube
too hard in my concentration; too much glue would come out, on my hands, my
clothes, the thing I was trying to glue, but never in the place it was meant
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My Grampa, with his calm approach
and steady hands would have to take over, explaining the intricacies of glueing, of repairing. I understood them, and still do – the logic of
sealing the surface with a thin layer of glue, of propping the parts before you
start, that dirty edges lead to a dirty join – but no matter how hard I tried then and try now (or
don’t try!), the result is the same – glue everywhere, me stuck to me, object
still broken, still in need of repair.</div>
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This plate is a testament and an opposition to that, its dirty join clearly showing. However, it is joined, it is one again. Would I trust it hold to my cup? I'm not sure - the roughness of my join implies a lack of strength to me. Yet I know that superglue is strong.</div>
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'But even the fired pot stands in the long narrative of these transformations with only its own authenticity. For it too will disappear; it will be sold or given away. It will almost certainly be broken in time. The shards will then stand with their own special charm and symbolism. They may even be pounded up for grog and thus enter bodily in to the process at another beginning point. Or they may be turned into mosaic for yet another experience of form.<br />
And though shapes change, though each moment dies into the next, though no thing is being made to last, something is happening Each moment bears life forwards'</blockquote>
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<span style="font-size: x-small;">Mary C Richards, from an excerpt from Centering (1966), p208 of The Craft Reader (ed. G. Adamson, 2010)*</span></div>
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Although Mary C Richards sees the life of the material carrying on, even after the form has been broken, she does not mention repair here. If we are expanding our way of being through (in a controlled way) the objects we own<span style="font-size: x-small;">**</span>, what does keeping and repairing them say? </div>
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The notion of mosaic-ing resonates with repairing. The charm and symbolism that Richards mentions, continue in their actual form (shards) as material rather than as a renewed composite in the original material (grog, clay), and presumably shed and gather further charm and symbolism along the way. In this plate repair, the object has journeyed from material (clay) to material-with-form (plate) to form-as-material (shards) to material-with-form (plate) again. As such it has a different message. Is this a message of resistance? sentiment? thriftiness? need? dirtiness? I think it depends on the object viewer.</div>
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<span style="font-size: x-small;">*Richards speaks about the relationship between the centering of clay on the wheel, and the centering of the self in life, the transformations of clay and the experiences of metamorphoses in nature.</span></div>
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<span style="font-size: x-small;">**see Baudrillard's <i>A Marginal System: Collecting</i> in The System of Objects, 1968</span></div>
BHhttp://www.blogger.com/profile/03183923142941087869noreply@blogger.com0tag:blogger.com,1999:blog-4846062110260814767.post-990279939042772982015-12-03T03:15:00.003-08:002015-12-03T03:17:40.075-08:00One loss, Two Jumpers, Three Thoughts<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /><br />One big, one small. One bright, one muted. Both commissioned for exhibitions. Both rich with emotions, to me anyway. The larger inspires softness in me, although I made it through a time of loss. I sobbed into its fibres, I laid my head on its bulk. The care that I took in mending it, mending me through it, stitching meditatively, quietly, darning through my grief. Beginning a long healing process, not yet ended, from a rupture. It became, through death, a new project, unintended and changed through no choice of mine, but maybe better than the original. This jumper is the material of my grief. These stitches are both outpouring and staunch. Its fabric, the warmth and company of my loneliness. <br /><br /><br /> The other however, the other jumper. The second commission. Similar in looks, less worked maybe. Different stitches, different tensions, in the yarn and in me. This jumper carries anger, I hated making it. Sitting in my studio in the dark months of winter, cold, resenting the return to my earlier feelings. Finishing it was a relief, I was surprised to find I like how it looks. <br /><br /><br /> Together they represent times of difficulty and soothing, memories and futures. A time to use tacit knowledge, to take comfort in fabric and yarn, and my hands and my abilities, stitches replacing lost material. Time passing, skills passed on, jumpers remade. Somehow complete as a pair , they compliment each other.</span>BHhttp://www.blogger.com/profile/03183923142941087869noreply@blogger.com0tag:blogger.com,1999:blog-4846062110260814767.post-29124168004488694782015-10-28T03:09:00.001-07:002015-10-28T03:58:43.635-07:00Shock City: Resilience and the AnthropoceneToday Year of Resilience (#YoR) launches at CCW with a 2 day event, Shock City: Resilience and the Anthropocene, exploring resilience.<br />
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More information here:<br />
<a href="http://www.ccwgraduateschool.org/shock-city-launching-the-year-of-resilience/">http://www.ccwgraduateschool.org/shock-city-launching-the-year-of-resilience/</a><br />
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Over lunch today there will be a presentation running about The Department of Repair, and the relationship between repair and resilience. <a href="https://vimeo.com/143851972" target="_blank">You can watch it here</a>, but theres a small excerpt below:<br />
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By taking a conscious anti-consumption stance, stemming from human and object malaise, The Department of Repair created a collaborative form of activism by legibly displaying subtle symbols of personal politics.<br />
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Deliberately visible repairing acts as placard and encouragement, protesting obsolescence and connecting people to people, to objects and to capabilities. <br />
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The Department of Repair demonstrated that choosing to repair makes material, personal and social resilience.</div>
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BHhttp://www.blogger.com/profile/03183923142941087869noreply@blogger.com0tag:blogger.com,1999:blog-4846062110260814767.post-76398575814756381922015-10-18T08:58:00.002-07:002015-10-19T03:35:45.201-07:00I am exhibiting in RE-Reanimate, Repair, Meld & Mend<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHfs03JJ8CN1AZ_5b8FffH56Do4Sa0p93sI0ttxvaio4DSV6ZQ8j4ZDv8v43XvlW9og-xwvMUb8scHDLhIyMVcZMsFCC51MaRB_Uv-qtCeYQ1DTnhspXUszKWChmC8FJCm58UEAj4TTmQ/s1600/Bridget+Harvey%252C+Blue+Necklace%252C+maple+wood%252C+nylon%252C+2012%252C+%25C2%25A3800+high+res.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHfs03JJ8CN1AZ_5b8FffH56Do4Sa0p93sI0ttxvaio4DSV6ZQ8j4ZDv8v43XvlW9og-xwvMUb8scHDLhIyMVcZMsFCC51MaRB_Uv-qtCeYQ1DTnhspXUszKWChmC8FJCm58UEAj4TTmQ/s400/Bridget+Harvey%252C+Blue+Necklace%252C+maple+wood%252C+nylon%252C+2012%252C+%25C2%25A3800+high+res.jpg" width="300"></a></div>
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<span style="font-size: x-small;">Blue Necklace, 2012</span></div>
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I am showing <i>Blue Necklace</i> in this small exhibition at the <a href="http://www.bluecoatdisplaycentre.com/exhibition/re-reanimate-repair-meld-mend/" target="_blank">Bluecoat Display Centre, Liverpool</a>. It features the work of artists who are concerned with the re-use and reanimation of existent (often devalued or discarded) cultural material.<br>
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<i>Blue Necklace</i> is made from 800 hand cut, coloured and polished beads made from reclaimed or re-animated maple wood. My AHRC funded doctoral research is focused on the practice of repairing and making, and this work demonstrates a different cycle of repair – material re-use as environmental repair - and continues redefining the assumed aesthetics of the recycled and examining the impact of personal actions in the greater scheme of sustainability.<br>
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My research aims to define repair as a bridge between creativity and practicality, as crossing boundaries and as a methodology with which to actively explore sustainability, identity and community. Exploring the multidimensional area of repair through (re)making, investigating materials, joining methods and object narratives, I am making and collecting a series of objects, techniques and experiences, investigating the potential for visible repair as part of an expanded studio practice. <br>
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Re- Reanimate, Repair, Meld & Mend is showing at Bluecoat Display Centre from 10 October – 14 November 2015.<br>
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Artists include Michael Brennand-Wood, Neil Brownsword, David Clarke, Robert Dawson, Bouke de Vries, Steve Dixon, Amy Douglas, Jenni Dutton, Matthew Harris, Bridget Harvey, Charlotte Hodes, Gitte Jungersen, Carol McNicoll, Livia Marin, Irene Nordli, Caroline Slotte, Linda Sormin, Hans Stofer & Jacy Wall. The exhibition is curated by <a href="http://www.cumbrianblues.com/" target="_blank">Paul Scott.</a><br>
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<a href="http://www.bluecoatdisplaycentre.com/exhibition/re-reanimate-repair-meld-mend/">http://www.bluecoatdisplaycentre.com/exhibition/re-reanimate-repair-meld-mend/</a><br>
<br>BHhttp://www.blogger.com/profile/03183923142941087869noreply@blogger.com0tag:blogger.com,1999:blog-4846062110260814767.post-60653139056665763052015-10-04T06:38:00.001-07:002015-10-18T09:03:50.794-07:00This weeks reading<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJGsbUfKL3g6a15HNG8Cgp-6k6J1Z3jElFYFcp7vX7XOp1GPhVhLI-XEy-YTgZeL4U5NVbP2KyYVfUFSOxaqUOBuyZOUGdyx1ewTJI5FEgd_fBI5RxeyRESVvBeae7GbvgsHLB4cDRmM4/s640/blogger-image--956547698.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJGsbUfKL3g6a15HNG8Cgp-6k6J1Z3jElFYFcp7vX7XOp1GPhVhLI-XEy-YTgZeL4U5NVbP2KyYVfUFSOxaqUOBuyZOUGdyx1ewTJI5FEgd_fBI5RxeyRESVvBeae7GbvgsHLB4cDRmM4/s400/blogger-image--956547698.jpg" width="400" /></a></div>
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I highly recommend this book and in particular the essay by Glenn Adamson - 'From Me To You: A personal account of craft curation'.</div>
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available: <a href="http://www.arnoldsche.com/en/Design-Crafts/Crafting-Exhibitions.html">http://www.arnoldsche.com/en/Design-Crafts/Crafting-Exhibitions.html</a></div>
BHhttp://www.blogger.com/profile/03183923142941087869noreply@blogger.com0tag:blogger.com,1999:blog-4846062110260814767.post-27809687688499119942015-06-01T04:18:00.000-07:002015-10-19T04:19:52.276-07:00The Department of Repair, publication Part 1The Department of Repair publication 1 is available to read online: <a href="http://issuu.com/thedepartmentofrepair/docs/tdor_part_i/1">http://issuu.com/thedepartmentofrepair/docs/tdor_part_i/1</a><br />
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<br />BHhttp://www.blogger.com/profile/03183923142941087869noreply@blogger.com0tag:blogger.com,1999:blog-4846062110260814767.post-69383493226720802932015-01-18T05:07:00.000-08:002015-01-18T05:07:06.213-08:00The Department of Repair<div class="separator" style="clear: both; text-align: center;">
I have co-curated this project at the Camberwell Space with Maiko Tsutsumi, Michael Hurley and Karen Richmond. It brings together designers, makers and repairers with things, materials and processes. Part1 (12th Jan - 30th Jan) includes workshops with repairers and an exhibition, the 2nd part (2nd Feb - 20th Feb) is open as an exhibition, including outcomes generated by the workshops.</div>
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There is more information here</div>
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<a href="https://thedepartmentofrepair.wordpress.com/">https://thedepartmentofrepair.wordpress.com/</a></div>
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There is a publication available, print on demand, email me for more details on it.</div>
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The project, publication and exhibition were designed with zero waste principles in mind. So the furniture is all made from reclaimed materials, and will be processed back into materials after the project finishes, the publication is printed on reclaimed paper and hand bound. BHhttp://www.blogger.com/profile/03183923142941087869noreply@blogger.com0tag:blogger.com,1999:blog-4846062110260814767.post-82603532340249312342014-11-17T02:02:00.002-08:002014-11-17T02:02:49.003-08:00SecondHandFirst Week with TRAIDThis week is secondhandfirst week, a celebration of secondhand clothing organised by TRAID. There are lots of exciting events going on, including a darning workshop in Dalston with Tom of Holland... see here for an events list...<br />
<a href="http://www.traid.org.uk/traid-events/">http://www.traid.org.uk/traid-events/</a><br />
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I will be wearing second hand clothes all week, and mending some too.<br />
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Monday's outfit is here:<br />
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Gran's handknit cardigan, urban outfitter jeans from the local charity shop, longsleeve which a friend no longer wanted.</div>
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Nothing in this outfit has been mended, all have come to me good as new. However I customised the longsleeve to make a boat neck - it used to have a polo neck, I now use that tube of fabric as a hair band. The cardigan is of particular significance as my gran taught me to knit and sew. I have a lot of her cardigans (she didn't really knit other things) and I enjoy them as they remind me of her and that knitting an entire garment is possible (I have not yet managed it by myself! one day!!).</div>
<br />BHhttp://www.blogger.com/profile/03183923142941087869noreply@blogger.com0tag:blogger.com,1999:blog-4846062110260814767.post-85333310091596010562014-11-03T03:01:00.003-08:002014-11-03T03:01:40.702-08:00Zöe Hillyard<div style="text-align: center;">
<img class="rg_i" data-src="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcQvue4SCyLt1nPiQDeS-Ke6Ksx9caiKqe1omnka_0wUP7t1nnii" data-sz="f" height="266" jsaction="load:str.tbn" name="uRm89cNST06I8M:" src="https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcQvue4SCyLt1nPiQDeS-Ke6Ksx9caiKqe1omnka_0wUP7t1nnii" style="height: 183px; margin-left: -10px; margin-right: -11px; margin-top: 0px; width: 275px;" width="400" />\<img alt="" border="0" height="354" src="http://www.zoehillyard.com/uppark%20website%20cover%20copy2.jpg" width="400" /></div>
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<span style="font-size: x-small;">Images lifted from <a href="http://www.zoehillyard.com/">http://www.zoehillyard.com/</a></span></div>
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I have recently come across the work of Zöe Hillyard, who works with ceramics and textiles. See more of her work here:</div>
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<a href="http://www.zoehillyard.com/">http://www.zoehillyard.com/</a></div>
BHhttp://www.blogger.com/profile/03183923142941087869noreply@blogger.com0tag:blogger.com,1999:blog-4846062110260814767.post-32607032650371597822014-10-04T03:59:00.001-07:002014-11-03T03:02:02.376-08:00Mending Dialogue with Tom of HollandMy good friend Tom and I are embarking on a project together. We met through our common interest in mending and have decided to translate our verbal dialogue into a physical (re)making dialogue. <div>Tom had 2 old tea towels, well used and with a historical significance to his life. (Read more about that here). </div><div>We decided that one should be mended for practical use, and one impractically, each of us starting with one of the tea towels and posting them between us. As we are both busy with various projects we have set no time limit on ourselves, allowing the project to develop naturally at its own pace. </div><div><br></div><div>This very much is in line with my interests in temporal appropriateness, I believe slowness in design or craft making not to mean that everything should take a long time but that it should take an appropriate amount of time, be that the task or the time-space for it in ones life. Reading about sustainism recently have a similar view. The authors refer to 'proportionality' - giving appropriate proportion to tasks and practices. I am going to attempt to form a proportional relationship with this project !</div>BHhttp://www.blogger.com/profile/03183923142941087869noreply@blogger.com0tag:blogger.com,1999:blog-4846062110260814767.post-42537205498842637182014-09-29T04:08:00.003-07:002014-11-03T03:02:36.069-08:00<div style="text-align: center;">
<span style="font-family: inherit; font-size: large;">I am in the process of rebuilding my blog here and at <a href="http://uselesstat.blogspot.co.uk/" target="_blank">Useless Tat</a>, please bear with me as I am having to reformat a lot of missing content. This should be done by the end of November 2014.</span></div>
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<span style="font-family: inherit; font-size: large;">Thanks, Bridget</span></div>
BHhttp://www.blogger.com/profile/03183923142941087869noreply@blogger.com0tag:blogger.com,1999:blog-4846062110260814767.post-91642396729807373022014-05-30T04:42:00.000-07:002014-05-27T04:43:30.870-07:00Fran Cottell's wearable print<div class="separator" style="clear: both; text-align: center;">
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<a href="http://www.francottell.com/artwork/wearable-print">http://www.francottell.com/artwork/wearable-print</a></div>
BHhttp://www.blogger.com/profile/03183923142941087869noreply@blogger.com0tag:blogger.com,1999:blog-4846062110260814767.post-11878588328446016912014-05-27T04:34:00.004-07:002014-05-27T04:34:22.529-07:00Marble Dresses by Alasdair ThomsonThese dress sculptures are carved from marble. According to his website, <span style="background-color: white; color: #222222; font-family: Georgia, serif; font-size: 15px; line-height: 24px;">Thomson created them to explore "the way fabric hangs and folds, and is attempting to capture that lightness and gracefulness in stone."</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj34CLOPAFDnOlVTtHQ6bz0iX7j7rmvy-PdcYhjGzns51a2hgtByFLppodLMlyqqM1nxWYjiAqPNjODhbPk9UGxOQ160W_aI9KShZRWKZ518l7oR66TWn7v1QIXdjNnZZPF90PUVyUHaFA/s1600/ABC-Greta-777x1024.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj34CLOPAFDnOlVTtHQ6bz0iX7j7rmvy-PdcYhjGzns51a2hgtByFLppodLMlyqqM1nxWYjiAqPNjODhbPk9UGxOQ160W_aI9KShZRWKZ518l7oR66TWn7v1QIXdjNnZZPF90PUVyUHaFA/s1600/ABC-Greta-777x1024.jpg" height="400" width="302" /></a></div>
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<a href="http://www.alasdaircthomson.com/the-identity-collection/greta">http://www.alasdaircthomson.com/the-identity-collection/greta</a></div>
BHhttp://www.blogger.com/profile/03183923142941087869noreply@blogger.com0tag:blogger.com,1999:blog-4846062110260814767.post-25637651610160008002013-04-19T02:30:00.003-07:002013-04-19T02:30:34.651-07:00The Geometrics<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKK2bZvWchHtUhfaChW1HZYgOsoXvWi0XyuW5TY63O1pesdB675kJhO9BHo53CrjWIn0_6M1vVhA8PdYOJwHflmTXKhssyvDEwc1fGeI45IfQhl22rQDYoc9opKNo41n4jJnMNeg_woYI/s1600/photo.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKK2bZvWchHtUhfaChW1HZYgOsoXvWi0XyuW5TY63O1pesdB675kJhO9BHo53CrjWIn0_6M1vVhA8PdYOJwHflmTXKhssyvDEwc1fGeI45IfQhl22rQDYoc9opKNo41n4jJnMNeg_woYI/s320/photo.JPG" width="320" /></a></div>
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<span style="font-family: inherit;"> Exhibition opening today! </span></div>
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<span style="font-family: inherit;">Private view tonight, 6-9pm.</span></div>
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<span style="font-family: inherit;">Open until 5th May, more details here: <a href="http://thegeometrics.blogspot.co.uk/">http://thegeometrics.blogspot.co.uk/</a></span></div>
BHhttp://www.blogger.com/profile/03183923142941087869noreply@blogger.com0tag:blogger.com,1999:blog-4846062110260814767.post-72249826123906396902013-03-25T08:08:00.003-07:002013-03-25T08:08:43.831-07:00Getting Making #1<div class="separator" style="clear: both; text-align: center;">
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I have started a new project called Getting Making. My colleague and I are setting a new challenge each week for some MA students at Camberwell to respond to, we are also doing the challenges. We are meeting over the coming weeks to set the next challenge, and talk through the objects made for the previous challenge. We are also going to be holding a small exhibition at the end of May to showcase some of the objects.<br />
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The image above is of my objects from challenge 1 - to collect 4-6 objects that embody your practice, forming a visual and physical narrative showing your interests.<br />
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There are more images <a href="http://jmbcollective.blogspot.co.uk/" target="_blank">here</a> showing the work of some of the other participants.<br />
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Exhibition details to be confirmed, but private view will be 23rd May, Camberwell GreenBHhttp://www.blogger.com/profile/03183923142941087869noreply@blogger.com0tag:blogger.com,1999:blog-4846062110260814767.post-32518466109847312202013-03-20T06:47:00.001-07:002013-03-20T06:47:38.833-07:00Shop of Possibilities<div class="separator" style="clear: both; text-align: center;">
<span style="margin-left: 1em; margin-right: 1em;"><a href="http://shopofpossibilities.blogspot.co.uk/" target="_blank"><img border="0" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5-lt9wYDW7SWGLg5dcC7LzN27EMNJrmbC8dNSqUlTvmCXWREOJAYKFoS0c2UI8IRUzQ51qpRq6VJrwQ5DGNXHL5Ag1qXlnpGmU-4pEYD6CClEEwFZ0WinIm9YnVU_NeowHW7yHatoptU/s400/1test.jpg" width="400" /></a></span></div>
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<span style="font-size: x-small;"><a href="http://shopofpossibilities.blogspot.co.uk/" target="_blank">Image taken from http://shopofpossibilities.blogspot.co.uk/</a></span></div>
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Last Saturday I spent the afternoon at the Shop of Possibilities <a href="http://shopofpossibilities.blogspot.co.uk/" target="_blank">(their blog here)</a>, a space run by the <a href="http://www.southlondongallery.org/page/theshopofpossibilities" target="_blank">South London Gallery</a>. It is a truly amazing space, filled with stuff to make with, stuff to play with and space to do it in. The unit that houses it is an ex-shop which had apparently been empty for a considerable amount of time before the SLG took over it. I really enjoyed being there, the staff were very welcoming as were the children. There were no structured activities, just the freedom to get on and do whatever you fancied. </div>
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I played catch with a bunch of the children for a while, and also did some drawing& colouring with them. I basically joined in with what they wanted to do, and helped when necessary. I found it very inspiring, it reminded me of bits of my childhood where we always had a box of milk tops, loo roll tubes, old paper and other bits, glue, paint and sellotape to play and make with, and complete freedom to make whatever we wanted.</div>
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I really liked that it was unstructured too - there was space for everyone to do what they wanted, inside or out, sitting and drawing or running and bouncing.</div>
BHhttp://www.blogger.com/profile/03183923142941087869noreply@blogger.com0