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The Metamorphosis of Weaving - Pattern and Space Through Dimensional Hand Weaving

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The Metamorphosis of Weaving - Pattern and Space Through Dimensional Hand Weaving THE METAMORPHOSIS OF WEAVING Pattern and space through dimensional hand weaving Degree Project Master in Fine Arts in Fashion and Textile Design with Specialization in Textile Design Title The Metamorphosis of Weaving - Pattern and space through dimensional hand weaving Author Mirjam Hemström Supervisor Hanna Landin Opponent Sarah Taylor Examiner Delia Dumitrescu Report No. 2020.6.09 The Swedish School of Textiles University of Borås ii Form forms thought. Interspace forms dreams. iii Table of Contents 1.1 Abstract 1 1. 2 Keywords 1 1. 3 Images of results 7 2.1 Introduction to the Field: on form, pattern and scale 26 2.1.1 Haptic qualities and visual aesthetics in woven design 26 2.1.2 Woven form 28 2.2 State of the Art 29 2.2.1 On Weaving 29 2.2.2 On Kasuri and some interpretations of it 32 2.3 Motive 35 2.4 Aim 36 2.5 Design Program 37 2.5.1 The Thread 38 2.5.2 Three dimensional patterns 39 2.5.3 Immersive Installation 42 3.1 Method of Exploration 44 3.1.1 Theoretical framework 44 3.1.2 Application of the theoretical model 45 3.2 Methods for evaluation 46 4.1 Development 47 4.1.1 The thread as the fundamental building block: developing ropes and rags 48 4.1.2 Developing Metamorposis I, II, III 68 4.1.3 Developing Woven Prism 69 4.1.4 Developing Woven Space 71 4.1.5 Developing Geology/Geometry 75 4.1.6 Developing Lush Bonanza 78 4.2 Design Rationale 82 4.2.1 Reasons behind design decisions 82 4.2.2 The justification for it 82 4.2.3 Argumentation that lead to the decision 82 iv 5.1 Result 83 5.1.1 Presentation 83 5.1.2 Woven Prism 85 5.1.3 Woven Space 86 5.1.4 Metamorphosis I, II, III 87 5.1.5 Geology/Geometry 88 5.1.6 Lush Bonanza 89 5.2 Discussion 90 5.2.1 The power of thread design 90 5.2.2 Considerations for further work 92 5.2.3 Reflections on how a line becomes a surface > a space > a trace. Or a conversation 93 5.2.4 The in-betweens 94 References 95 Table of Figures 97 v 1.1 Abstract There is a link between the tactile and optical modes of perception. Woven textiles’ materiality and ability to take three dimensional form, make them a good medium for creating shapes containing several pattern scales and textures. By conciously working with tactile-visual qualities and aesthetics one can achieve the most powerful effects, and in turn, the textile can take the role of a sensation director. By interpreting Kasuri with large scaled threads on a computerized hand loom and in space, an exploration of details and spatial installation can be conducted simultaneously. The five examples developed in this project demonstrate different approaches to dimensional hand weaving, intending to build a better understanding of micro and macro spatial features in woven textiles. Significantly, the project challenges the scale of hand weaving as well as the design process: stretching from thread to dimensional weave empowers the designer. By highlighting crafted details on a large scale, a sequence of events can be discerned that makes the spectator aware of quality and of the production process. Parallels between the 1. 2 Keywords body of work and our perception of lines and interspaces are drawn as an attempt to refine 3D Weaving our relation to the objects around us. Dimensional Weaving Hand Weaving Rope making Rags Pattern Perception Spatial Installation Textile Design 1 (Ferro 2020) (Ferro 2020) 1. 3 Images of results (Ferro 2020) 8 (Ferro 2020) (Ferro 2020) (Ferro 2020) (Ferro 2020) (Ferro 2020) 15 (Ferro 2020) (Ferro 2020) (Ferro 2020) (Ferro 2020) (Ferro 2020) 2008). From a textile design perspective, 2.1 Introduction to the these theories are interesting to use as Field: on form, pattern and a base for exploration. Furthermore, ”[t] he brain has an intuitive system which scale marries the feel of information with its look” (Bernstein, Bader, Bengler and Künzner, Pattern and form influence each other. 2008), meaning that forms, patterns and Moreover, the combination of scales in scales together enhance the perception of pattern and form effects the visual aesthetics the material. as well as the haptic perception. By working consciously with scale, form, pattern and In other words, haptic perception is the texture, one can achieve the most powerful tactile and kinesthetic feedback the brain sensations. Designing rags, ropes and cords experiences when looking or touching a with a wide spectrum of pattern scales, allows surface or an object. Likewise, it can be an exploration including spatial installation, explained as “the ability to grasp something”. form as well as surface pattern. Hence, this Undoubtedly, a weave is a compatible chapter will include an introduction to haptic medium for contributing to stimulating perception from a textile design perspective spaces. as well as the area of three dimensional weaving. 2.1.1 Haptic qualities and visual aesthetics in woven design In a time of information overload, in which the world embraces the digital and our minds and intellects must think and interact at increased speeds, the field of textile design has the opportunity to offer sensuous experiences of tactility, and influence our perception of time and space. In Get touched – Bodycare as a design of media for self-perception, Stein (2008) questions if it is possible to create products open for physical contact and multi-sensual self experience. The brain organizes information similarly whether patterns are perceived by vision or touch. Significantly, psychophysical studies suggest that macro spatial features such as object shape is strongly connected to vision, while touch is more sensitive to micro spatial Figure 1. Untitled. Material Study, Otti Berger. features such as texture (Lacey and Sathian, (Kirsten-Collein, U. 1926). 26 When art director Kenya Hara writes about designing for the senses, he calls for a high technology that were to evolve in a more delicate manner, subtly correlated with the periphery of the sensory perception (Hara, 2004). During the 1920’s, the Bauhaus school was strongly influenced by Aloïs Riegl’s theory about the relationship between tactile and optical modes of perception (Smith, 2014). Riegl’s theory on tactility, tactile memory and visual perception of space, went hand in hand with the weaver Otti Berger’s writings claiming that fabrics are not only felt by hand but also sensed unconsciously. In the article Stoffe Im Raum (Textiles in Space), Berger (1930) discusses how haptic qualities are perceived in her textiles. By fusing optical properties; color and composition, with tactile ones; smoothness or roughness, her juxtaposition of material, color and texture show that vision and touch overlap (figure 2). Undoubtedly, haptic perception have taken new paths since, and in the twenty- first century the word mostly refers to high- technological or digital experiences. Within the field of textile design, woven textiles with tree dimensional properties have indeed evolved in the delicate manner Hara (2004) calls for. Figure 2. Linen slub clothing material, Otti Berger, 1930-1944. (Nipkow, E. 1952). 27 2.1.2 Woven form Three dimensional weaves through multi layer weave constructions have developed in recent years, mainly on jacquard power looms. To mention a few, Juliette Berthonneau and Kathryn Walters both explore three dimensional structures and form generating weaving through synergistic material combinations, finishing treatments and the interaction of active yarns (high twist, elastomeric or other shrinking) in layers and floats (Walters, 2018). Berthonneau’s and Walters’ textural, sculptural or structural interests clearly appear in their works. Moreover, the works’ three dimensionality and patterned surfaces are from a designing for the senses point of view. Figures 5-6. Bouncing Patterns, exploring Figures 3-4. Form from Flat, exploring three dimensional woven patterns in relation emergent behavior in woven textiles, Kathryn to material, form and structure, Juliette Walters, 2018. Berthonneau, 2019. 28 2.2 State of the Art Through this thesis, “dimensional weaving” is chosen as notion for the field of research. Currently, “three dimensional weaving” is frequently used within artistic, experimental, industrial weaving as well as in the transport industry and in the medical technology, where it continues to evolve. The two notions have much in common, however using another distinguishes the focus areas in order to emphasize the research on form in relation to perception rather than the technique of generating form. In this section, experimental, dimensional Figure 7. Breathing Colour, exploring how color, hand weaving is presented followed by an form and light influence each other. Hella introduction to Kasuri: a resist-dyeing technique Jongerius, 2019. for a weaving purpose. 2.2.1 On Weaving Designer Hella Jongerius is recognized for her research on the meaning of colors, materials and textures (Jongerius, 2020). Taking the form of finished products, the body of work is characterized by open ended questions where playful investigations show the potential of materials and techniques. Through discussing the topic of weaving not only as an ancestral craft practice but as cultural innovation, Jongeriuslab is an avant-garde representative within textile design. In the exhibition Breathing Colour (Jongerius, 2019), a collection of designed objects in ceramics, textiles and paper demonstrate how the experience of color and form is affected by the quality of light. The reflective properties of the objects’ surfaces, play an important role for the spatial perception. 29 hierarchies between warp and weft by giving the vertically hanging warp threads a superior role. Yet, something that Space Loom does not discuss, is the numerous scales of pattern in one piece: the different densities of micro or macro patterns (colored parts) that together create a large scale form.
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