| Field |
Value |
Language |
|
dc.contributor.author |
Heffer, C
https://orcid.org/0000-0001-5388-9956
|
en_US |
|
dc.contributor.editor |
Piwonski, J |
en_US |
|
dc.date |
2013-05-06 |
en_US |
|
dc.identifier.citation |
14th Textile Tapestry Triennial |
en_US |
|
dc.identifier.isbn |
978-83-60146-38-5 |
en_US |
|
dc.identifier.uri |
http://hdl.handle.net/10453/31828
|
|
|
dc.description.abstract |
Lace Installation designed for the 14th International Tapestry Triennial which is the oldest and one of the most prestigious International Textile Triennials in the world. Participation in the International Tapestry Triennial, Lodz, Poland is by invitation only. Through a controlled Programming Board the Museum invites National Cultural Consultants from each country to select three works. For the 2013 Triennial Valerie Kirk, Head of Textiles at the Australian National University Canberra, was asked to be Australias national consultant. I was invited along with artists Gabriella Hegyes and Treahna Hamm to represent Australia in this event. The exhibition showcased one hundred and twenty artists representing fifty countries. My research contribution to this field lies in the unique lace technique I have developed together with the integration of digital photographic imagery. The digital print has been embedded into the lace structure and demonstrates the potential to develop alternative ways to develop lace pattern. The integration of printed image into the lace making process is a new unique approach that has the potential to extend how lace design motifs are produced. |
en_US |
|
dc.publisher |
14th International Tapestry Triennial, Lodz, Poland |
en_US |
|
dc.relation.ispartof |
14th Textile Tapestry Triennial |
en_US |
|
dc.title |
Drawn Threads |
en_US |
|
dc.type |
Exhibition |
|
|
utslib.location |
Centralne Muzeum Wlokiennictwa , Lodz, Poland |
en_US |
|
utslib.location.activity |
Textile Fibre Forum, issue 110, 2013 |
en_US |
|
utslib.for |
120306 Textile and Fashion Design |
en_US |
|
dc.location.activity |
Textile Fibre Forum, issue 110, 2013 |
|
|
pubs.embargo.period |
Not known |
en_US |
|
pubs.organisational-group |
/University of Technology Sydney |
|
|
pubs.organisational-group |
/University of Technology Sydney/Faculty of Design, Architecture and Building |
|
|
pubs.organisational-group |
/University of Technology Sydney/Faculty of Design, Architecture and Building/School of Design |
|
|
utslib.copyright.status |
closed_access |
|
|
pubs.consider-herdc |
false |
en_US |
|
pubs.place-of-publication |
Centralne Muzeum Wlokiennictwa , Lodz, Poland |
en_US |
|
pubs.start-date |
2013-05-06 |
en_US |
|
pubs.rights-statement |
This research is in the field of contemporary textile design. Traditionally lace is white/cream or black in colour, although we are now seeing dyed lace emerging on the market. Lace motifs are usually stylized through techniques such as embroidery and bobbin lace making. The integration of digitally printed images into the lace making process is a new approach that demonstrates alternative ways to develop lace pattern and has the potential to extend applications for textiles in fashion and interior design. Drawn Threads is an installation comprised of two lace panels. The work seeks to engage in a dialogue between Poland and Australia. In lacemaking, patterns of spaces are constructed as a means to identify form. As individuals we identify ourselves by the spaces we inhabit between objects. In order to understand our own story we notice the differences, the spaces between others. Lace becomes a metaphor for understanding place. The work draws on traditional lace making as a source of inspiration for contemporary textile design. It aims to combine both old and new technologies to create contemporary forms that move beyond traditional notions. Through a peer review process led by Valerie Kirk, Head of Textiles, Australian National University, the work was selected to represent Australia in the Triennial, held at the Centralne Muzeum Wlokiennictwa, Lodz, 6 May to 7 November 2013. Work from one hundred and twenty artists representing fifty countries was showcased. Drawn Threads has acquired by and is now permanently housed in the Museum Collection - Centralne Muzeum Wlokiennictwa, a highly regarded international textile archive. |
en_US |
|
pubs.rights-statement |
This research is in the field of contemporary textile design. Traditionally lace is white/cream or black in colour, although we are now seeing dyed lace emerging on the market. Lace motifs are usually stylized through techniques such as embroidery and bobbin lace making. The integration of digitally printed images into the lace making process is a new approach that demonstrates alternative ways to develop lace pattern and has the potential to extend applications for textiles in fashion and interior design. Drawn Threads is an installation comprised of two lace panels. The work seeks to engage in a dialogue between Poland and Australia. In lacemaking, patterns of spaces are constructed as a means to identify form. As individuals we identify ourselves by the spaces we inhabit between objects. In order to understand our own story we notice the differences, the spaces between others. Lace becomes a metaphor for understanding place. The work draws on traditional lace making as a source of inspiration for contemporary textile design. It aims to combine both old and new technologies to create contemporary forms that move beyond traditional notions. Through a peer review process led by Valerie Kirk, Head of Textiles, Australian National University, the work was selected to represent Australia in the Triennial, held at the Centralne Muzeum Wlokiennictwa, Lodz, 6 May to 7 November 2013. Work from one hundred and twenty artists representing fifty countries was showcased. Drawn Threads has acquired by and is now permanently housed in the Museum Collection - Centralne Muzeum Wlokiennictwa, a highly regarded international textile archive. |
en_US |
|
pubs.rights-statement |
This research is in the field of contemporary textile design. Traditionally lace is white/cream or black in colour, although we are now seeing dyed lace emerging on the market. Lace motifs are usually stylized through techniques such as embroidery and bobbin lace making. The integration of digitally printed images into the lace making process is a new approach that demonstrates alternative ways to develop lace pattern and has the potential to extend applications for textiles in fashion and interior design. Drawn Threads is an installation comprised of two lace panels. The work seeks to engage in a dialogue between Poland and Australia. In lacemaking, patterns of spaces are constructed as a means to identify form. As individuals we identify ourselves by the spaces we inhabit between objects. In order to understand our own story we notice the differences, the spaces between others. Lace becomes a metaphor for understanding place. The work draws on traditional lace making as a source of inspiration for contemporary textile design. It aims to combine both old and new technologies to create contemporary forms that move beyond traditional notions. Through a peer review process led by Valerie Kirk, Head of Textiles, Australian National University, the work was selected to represent Australia in the Triennial, held at the Centralne Muzeum Wlokiennictwa, Lodz, 6 May to 7 November 2013. Work from one hundred and twenty artists representing fifty countries was showcased. Drawn Threads has acquired by and is now permanently housed in the Museum Collection - Centralne Muzeum Wlokiennictwa, a highly regarded international textile archive. |
en_US |
