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The Metaphorical Value of Lace in Contemporary Art: the Transformative Process of a Practice-Led Inquiry

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The Metaphorical Value of Lace in Contemporary Art: the Transformative Process of a Practice-Led Inquiry The Metaphorical Value of Lace in Contemporary Art: The Transformative Process of a Practice-Led Inquiry Joy Buttress A thesis submitted in partial fulfilment of the requirements of Nottingham Trent University for the degree of Doctor of Philosophy March 2013 Copyright Notice This work is the intellectual property of the author. You may copy up to 5% of this work for private study, or personal, non-commercial research. Any re-use of the information contained within this document should be fully referenced, quoting the author, title, university, degree level and pagination. Queries or requests for any other use, or if a more substantial copy is required, should be directed in the owner(s) of the Intellectual Property Rights. ii Abstract This thesis examines lace as a metaphor in contemporary art, comprising a practice- led inquiry based on the lace archive of Nottingham Trent University. Lace is placed in the context of creative art practice to establish an overview and understanding of the multifarious associations used to articulate ideas and concepts. This study explores the integration of lace themes into my current art practice while adopting methods of research that reflect on and challenge the tacit knowledge already present in my creative process. An action research methodology is implemented, introducing reflective activities to question my concept development and instigate change. Case studies are used to gain a deeper understanding of how and why the application of lace themes and metaphors are present in contemporary art. The research process has a cyclical form in that my art practice is a case study that informs and enriches my creative process. A theoretical inquiry is established, contributing to a philosophical framework built around ideas that encompass lace and the body, addressing the reappropriation from a fabric that once signified only wealth and status to a material that now adds a sexual charge to garments through the relationship it has with skin. The theoretical and metaphorical understanding of lace gained as part of this inquiry is clearly defined through the documented conception and manufacture of a new body of artwork, demonstrating the transformation of my practice through academic research. Artworks were developed that explored the emotive space between historical lace pattern and the surface of the skin with an aim to translate the ambiguity of lace while reflecting multiple layers of opposing themes. The artworks produced were displayed in a solo show entitled Lacuna in February 2012 at the Bonington Gallery, Nottingham Trent University. iii iv Contents Copyright Notice ......................................................................................................... ii Abstract ..................................................................................................................... iii Contents .................................................................................................................... v Table of Illustrations ................................................................................................ viii Acknowledgements ................................................................................................. xiii Introduction ............................................................................................................... 1 Nottingham Trent University Lace Archive ............................................................. 5 The Outcomes of the Research ............................................................................. 7 Chapter One: Action Research Applied to Art Practice ............................................ 10 Introduction .......................................................................................................... 10 Action Research as a method .............................................................................. 12 The application of „reflection‟ in the process of research ...................................... 18 Conclusion ........................................................................................................... 23 Chapter Two: Lace as a Metaphor .......................................................................... 24 Introduction .......................................................................................................... 24 Lace in Context .................................................................................................... 25 Artists using metaphors of Lace ........................................................................... 31 Fashion cycles ..................................................................................................... 39 Lace: reveal and conceal ..................................................................................... 46 Lace: adornment .................................................................................................. 48 Lace: fetishism ..................................................................................................... 52 Conclusion ........................................................................................................... 57 Chapter Three: Case Studies .................................................................................. 59 Introduction .......................................................................................................... 59 Selection of artist and designers .......................................................................... 60 Interview process ................................................................................................. 63 v Danica Maier ....................................................................................................... 64 Shane Waltener ................................................................................................... 67 Cecilia Heffer ....................................................................................................... 70 Catherine Bertola ................................................................................................. 74 Elaine Bell............................................................................................................ 78 Visual mapping .................................................................................................... 81 Triangulation ........................................................................................................ 87 Conclusion ........................................................................................................... 89 Chapter Four: Skin as a site and sight for exploration and decoration ..................... 91 Introduction .......................................................................................................... 91 Skin and pattern: as a theme in my practice ........................................................ 91 Skin and Pattern: in the practice of others.......................................................... 102 Conclusion ......................................................................................................... 107 Chapter Five: Stitch in Contemporary Art .............................................................. 109 Introduction ........................................................................................................ 109 Stitch: in my practice .......................................................................................... 109 Stitch: to define the feminine .............................................................................. 110 Conclusion ......................................................................................................... 116 Chapter Six: Outcomes of the Research Process .................................................. 118 Introduction ........................................................................................................ 118 Developing my concept...................................................................................... 118 The manufacture of the artworks ....................................................................... 121 Latex artworks ................................................................................................... 132 Lacuna (2012) - Exhibition ................................................................................. 138 Conclusion ......................................................................................................... 145 Appendices ........................................................................................................... 155 Appendix One: Case Study – questions for first interview .................................. 155 Appendix Two: Case Study – questions for second interview ............................ 156 vi Appendix Three: Danica Maier Interview ........................................................... 157 Appendix Four: Letter of Complaint ................................................................... 169 Appendix Five: Futurescan – Mapping the Territory Conference Paper (2009) .. 171 Appendix Six: Visual Essay – DUCK– Research in Textiles and Textile Design (2010 issue one) ................................................................................................ 181 Appendix Seven: Intricate Connections Conference Paper 2010 ....................... 188 Appendix Eight: Love Lace Exhibition Powerhouse Museum 2011 .................... 196 Appendix Nine: Sources of illustrations .............................................................
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