From Stitch to the Drawn Line: the complex nature of the relationship between stitched line verse the drawn line
- Submitting institution
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Nottingham Trent University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 31 - 966629
- Type
- T - Other
- DOI
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- Location
- -
- Brief description of type
- N/A
- Open access status
- Out of scope for open access requirements
- Month
- September
- Year
- 2014
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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A - Artistic Research Centre
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Stitch & Peacock was a major solo exhibition commissioned by Head Curator, Ashely Gallant for international exhibition venue The Collection Museum and Usher Gallery for their main contemporary gallery space. The work was developed from a 7-month research residency within the Usher Galleries textile collection/archive; specifically focused on a Jacobean bedspread and their historical sampler collection rarely seen outside archival storage.
A series of new artefacts were created and shown in collaboration together with the archival pieces as a combined installation. Maier’s detailed pieces highlighted the relationship between historical and contemporary approaches; the repetition of stitched lines as drawn lines; the repetitive nature of stitch and domestic labour; and the value of skill and craftsmanship.
The work explored the value of archives as potential starting points for creative practice (M. Fairnington; The Fabric of Myth, 2008); how artists and designers think about the relationship between traditional hand embroidery, stitching and drawing (A. Wilson); exploration of innovation through an original interpretation of archival material. The research also contributes to debates around expanded forms of drawing, textiles and text. (A. Hamilton; G. Amer)
The project was funded by Arts Council (£7000) and The Collection Museum (£7500). It has been reviewed in Craft Research (intellect publishing) by Lucy Renton (Associate Professor, Kingston University) guest edited by Rowan Bailey (with Katherine Townsend) special issue: Craft and the Handmade: Making the intangible visible, which also featured Maier’s work on the journal cover. The research and exhibition are further explored in a major solo publication by Maier Grafting Propriety: From Stitch to the Drawn Line published by Black Dog (Spring/Summer 2016). The enquiry is cited in Crafting Textiles in the Digital Age; (2016, Bloomsbury) in two separate chapters: “Digital Embroidery Practice” and “Closely Held Secrets”.
- Author contribution statement
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- Non-English
- No
- English abstract
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