Tuesday, 15 November 2016

Score for Sittard / Cultuur maak(t) je



Score for Sittard, a piece commissioned by Joanna van der Zanden and artist Jeanne Van Heeswijk for Cultuur maak(t) je at Sittard’s new museum De Domijnen, in Dutch Limburg.

The piece started with a local group of ramblers collecting materials for make cords with which are pictured here installed in the museum. The making of these was done in formation leading to the cords being used as props to dance with and being tied into knots and plaited braids (the dance scores), before being untied again.

More info on the project is included in the following link.  









 


Thursday, 22 September 2016

strung


strung - A collaborative film and performanc by Jane Fradgley & Shane Waltener for 
Reclaiming Asylum, an exhibition at the Bethlem Gallery

Below are extracts from the exhibition catalogue. All images are film still shot by Antonia Attwood
  

Whilst exploring ideas of being grounded (or not), facing anxiety, risk taking, embracing the unknown and the journeys taken as a consequence of all of this. A young woman weaves and moves through an insecure structure, feet off the ground, attached to the tree itself, which while defying gravity gives her support, safety and freedom to climb.


Based around a majestic Lebanese cedar tree next to the Bethlem Gallery, Fradgley and Waltener have come together employing stitch, movement, sound and visuals to create new performance and moving-image based work with Laura Glaser (dance artist), Zoë Gilmour (sound artist) and Antonia Attwood (videographer). Inspired by Fradgley’s project held and Waltener’s woven installation and performance work, strung, is an enquiry into notions of personal boundaries, freedom and restraint.



seeking movement for blessing

barefoot dancing

cutting shapes

shifting


yearning and stitching

blissfully climbing

breathlessly

falling


darkness looming

unnatural holding

strung out

pausing


melting gently cleaving

soul transcending

end of the

weaving


A poem by Jane Fradgley


Note to myself: Find out what a work might be about. Let everyone get on with what they do best. As soon as we all know, the work will be done.- Shane Waltener

Monday, 19 September 2016

Score for the Atlantic Wall



Score for the Atlantic Wall is a performative installation created with a group of participants at the Atlantikwall Museum, a WW2 site at Raversijde near Oostende. The piece was commissioned by Vrijstaat 0 for the exhibition Private Tag, curated by Isabelle De Baets.

The piece, developed over a couple of weeks, was made by walking through the site following existing animal tracks, desire lines and boundaries marked by trenches and openings to tunnels.

These paths, made physical through stitch, brought into view and into mind the superimposed networks of lines dissecting the site, topographical, man-made and imagined.

The group of participants completed the work in a durational performance at the opening of the exhibition. A film documenting the making and rehearsal of this piece was also shown.

For more information on the exhibition, click on this link.














Monday, 14 September 2015

An Abecedary for Oya / Manufactum at CC de Ververij


Below is some copy which I wrote last month to accompany ‘An abecedary for Oya’, a series of works included in the current exhibition Manufactum at CC de Ververij in Ronse, curated by Jan Leconte and Chris Rotsaert.

For more info on the work and exhibition, see the links above or previous posts, or better still, go see the exhibition before the end of the month.

A for Anticipation and Artisanal

B for Baskets and Bonanzas

C for Cording and Coiling

An Abecedary for Oya

Earlier this year, artist Shane Waltener worked on Land of Plenty, a project commissioned by Rocsa. The collaborative project with the Oya group led to a number of objects being made, using locally sourced plant materials and yarns. They were exhibited at the end of the project at De Site in Ghent, where the plant materials were originally collected from.

The 26 composite pieces on display here include these original objects combined with others that inspired them or that were made in response to them. Also included with these are a number of Dailymades, selected from an ongoing series of works started by the artist in 2011.

By collaging and juxtaposing objects drawing on traditional crafts from all around the world and including techniques such as weaving, basketry and Oya crochet work, 'An Abedecary for Oya' questions where inspiration comes from and what objects communicate to us; can they contribute even to our sense of place and shift our understanding of our own social or cultural identity?

D for Darning and Dance

E for Exploring and Expanding

F for Feral and Foraging

G for Generous and Generative

H for Harvest and Hardiness

Sunday, 2 August 2015

transacting at TransActions (The Weave Exchange)


transaction in progress

Belatedly sending off some text and images as feedback to the organisers of TransActions: the Market of Values (see previous post), which will be used in a forthcoming publication.

Below is a pre-edit preview of the questions I was asked to answer that will tell and show you how the event went last month...

a successful transaction
another successful transaction

what values did your store explore?

The store at #TransActing displayed a collection of stitched and woven objects, produced using locally sourced plant materials and yarn during Land of Plenty, a recent project with a community group based in Ghent. These objects were offered to visitors at the market on the provision an exchange was made for these in the form of another object, an instruction or a thought or story inspired by these. The idea with this scheme for transaction was to question the value of objects and making; the provenance of materials, finding sustainable ways of making work, the necessity for social interaction and exchange to determine the value and meaning of objects.

deliberating a transaction
a failed transaction

 what transactions did it feature?

A number of transactions involved exchanging instructions and drawings for some of the objects, but no new objects were made at the stall. Instructions included using some of the work as a cache-pots, using ‘Oya’ inspired crochet work as alternative for decorative glaze motifs on ceramic, using these also as stencils for printmaking and as templates for jewellery and other fashion accessories, including a wide brimmed hat from one of the larger and more colourful pieces on display.

a happy transactor
... and another!

 a thought or two about being part of #TransActions?

I was initially surprised at the fact that so few people engaged with making at the stall. Reflecting on this I think the market format for the event, with multiple stalls offering a whole range of opportunities for transacting, probably dictated a certain pace at which the transaction were made and prevented visitors investing much time making. This allowed for replacing objects with instructions, which is great; an idea for making something after all, as opposed to a showing a finished object, is full of promise and unexplored possibilities.

the transaction space

Friday, 10 July 2015

The Weave Exchange






Above are pictures of stalls being build yesterday for the TransActions: the Market of Values, which I’ll be taking part of on Saturday at Chelsea College. It was a glorious sunny day, perfect from helping out the Critical Practice team and Public Works making from recycled wood from the degree shows at the college earlier in June.


My plan at the event with The Weave Exchange is to display a selection of objects made by Oya during the Land of Plenty project. I’ll invite people to exchange these for something else. This might be a new object, or a pattern, a set of instructions, an idea for an improved version of these, or even a story that related to them in some way…

The People’s Bureau, who invited me to be part of TransActions, will be given the role of assessing whether the exchanges are equitable. Without their endorsement no trading can happen. I’m interested in finding out what criteria are used when debating these exchanges and with this, how the value of work, making and objects is put into question. I’ll keep you informed on the outcome of all of this in my next post.






Works produced by Oya, Land of Plenty project