Subtraction-Erasure-Conjection with Michael Brennand-Wood 20th,21st & 22nd March 2020
Michael has an international reputation as one of the most innovative artists working in textiles today. He has lectured at Universities in London, Japan, Australia, New Zealand, Canada, Poland and USA.His work is represented in collections worldwide, including the Victoria & Albert Museum and the National Gallery of Australia.
My intention is to create a supportive yet challenging environment with a firm emphasis on the development of individual strategies, particularly in regard to ideas origination and areas of personal research.
I am interested in contested areas of textile practice, embroidery, pattern, lace and recently traditions of floral textiles. Influences include a fascination with comparative structure, music, landscape, travel and historical textiles.
The purpose of this workshop is to question the relationship between subtractive and interpretive practice. In general, we focus on additive processes, the generation on paper, fabric etc of accumulative information. What happens if we take an existing image or theme and subject it to a process of systematic reduction, what strategies and critical analysis might we employ? At what point does the erasure of physical material and thematic information morph into something new and unexpected?
As a basis for your experimentation, each Participant needs to bring with them an object, image, idea or theme that you wish to subject to a process of deconstruction and interpretation. This might be a physical material for instance an item of clothing, coverlet, carpet, hat or curtain.Imagery might be obscured, erased, overlaid, cut, veiled, removed in a variety of physical forms, utilizing techniques such as cut work, appliqué, shadow quilting, darning, mending, wax resist, gathered, dyed or pieced work. As a point of reference, Textiles found within museums collections offer a rich source of fragmentary information, residual visual clues that infer lost content and context.
It may be a non-textile object, an appliance, a piece of furniture, frame, light, tool, basket or book. Something that could be productively deconstructed.
Equally you may wish to investigate an idea or image exploring conceptual processes that are specifically related to the methodologies of subtraction, erasure and addition i.e. a passage of time, the censure, banning, editing of political or socially unacceptable information and imagery. Mutated, hybridised, and destroyed images. The conjecture and interpretation of archaeological sites and found objects. Reconstructive processes that emulate an absence of hard visual evidence. How additions to creatively replace, not restore, may be driven by a change in taste or fashion.
I’m clearly interested in both a physical and conceptual deconstruction.
The choice is yours. Ideally your starting image should be both a challenge to you and contain enough possibilities to investigate over the workshop.
You may well, present a sequence of experimentation that articulates their thinking and thought processes. I am interested in the strategies and critical analysis you will employ. Documentary processes that chart an object or ideas demise and reconfiguration will inevitably encompass, photography, text, drawing and collage.
Critique and group discussion would be an important component of the course. You need to be open minded and willing to experiment with scale, concept and media. You will be encouraged to develop original solutions in relation to the core aims of the workshop; this is not a technical or prescriptive course. Emphasis will be placed on the investigation and research of personal imagery and the development of related technical innovation, ideas that can be developed at a later stage. Above all it will be an experience, hopefully both fun and perplexing in equal amounts.
£360 - 3 day workshop including materials and 2 course lunch
£150 non refundable deposit, balance £210 payable by 10th February 2020
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