An exchange of gifts strikes up a conversation about showing care through the handmade object… Crafting an Education: The Handmade Gift as Talisman for our Times
Matt Gale’s work examines systems and relationships, exploring unusual or unexpected pairings of partners as a means to reference the queerness of the natural world – that actually nature is far less binary than we might imagine.… Practice-Based: On Smocking, Science and Sex
Adejoke Tugbiyele (b.1977, New York, USA) is an award-winning, queer, black artist. Her work often comments on human rights issues around the world, and her own identity as a queer woman of Nigerian descent. She currently lives in Brooklyn, New York where she continues to make artwork and engage in advocacy projects.… Adejoke Tugbiyele’s Hybrid Forms and Second-Skins
We often automatically refer to an artist’s collection as their ‘body of art’. The physical, bodily processes of crafting go (often literally) hand in hand with artistic creation. These bodily acts can often be therapeutic – we might think of the rhythmic practice of weaving or the soothing feeling of stepping away from screens, quietening our minds as we manually manipulate materials. Craft can impact the body, the physical act of making leaving its mark on the maker, such as the quiet ache of a spine that has been bent over a loom, fingers pricked by needles, skin chapped and cracked from handling clay. This issue feels out the myriad ways in which bodies relate to craft. It reaches into the crevices between creative practice, form and crafting and traces boundaries between interior and exterior. Through exploring a diverse range of embodied craft practices, it considers the corporeal aspects of crafting, of how bodies participate, labour, and speak back in the act of making.
In a poetic response to artist Alexi Marshall’s ‘The Party’, writer Jess Payn considers how bodies inhabit group spaces and impact on their environments; Bodies sometimes behave differently in crowds, partaking in murmurations of movement, performance, dance, or a jumbled jostle on a busy street – they are repeatedly made and unmade by their environments. Payn’s piece draws out the carnivalesque elements of ‘The Party’, exploring the ways intimacy’s dual promise of intimacy and threat of violence is foregrounded in this scene of communion and cluttered limbs. Making and performing are revealed as inherently embodied, collective acts through which we process the world around us.
From the way bodies work in social gatherings or intimate encounters, to the ways in which bodies work in capitalist systems – artist Johanna Unzueta states that ‘[h]ands are tools for me’ and her current exhibition, Tools for Life at Modern Art Oxford, unpicks the intrinsic relationship between the body and processes of labour, practice and industry. Cecilia Rosser’s exhibition review reflects on how the industrial is humanised, what craftsmanship means for the individual working body, and how the labour practices craft the labouring body within Unzueta’s body of work.
Sofia Carreira Wham reviews ‘Threading Forms’, an exhibition curated by Candida Stevens. This exhibition saw live demonstrations of weavers, live machine and hand stitching demonstrations, showing how bodies participate in making, the labour, concentration and rhythm of crafting, stitching and weaving. Whether it’s the politics of labour, or the fundamental human right of freedom of choice over what happens to your body; the body is a political space. Artist Giacinta Frisillo presents ‘the feminine mistake’, reflecting on healthcare and the right to inhabit and have control over one’s own body in a contorted American system that still, forty-seven years after the landmark Roe v. Wade case, is a relentless battle for freedom of choice and power.
The body is in constant conversation with the world around it. Violetta Liszka works with wire sculptures, photography and poetry to explore the boundaries between human interiority and the exterior forces that shape emotional and bodily experience in her project ‘Je est un autre’. Xuan Ma’s jewellery work also plays with the boundaries of the body, offering playful and intimate glimpses of ‘private views’ of the body. Using geometric shapes and reflective, mirrored surfaces, body parts are shown within the jewellery pieces to highlight these beautiful abstractions.
Embodied processes of making are at the heart of Enam Gbewonyo’s practice, which opens up a space to both critique racist capitalist discourse and enact processes of healing and renewal. Ahead of Gbewonyo’s performance ‘The Unbinding: a Restorative Act in Two Halves’ – which takes place on 15th April at Two Temple Place as part of the ‘Unbound: Visionary Women Collecting Textiles’ exhibition – we take a closer look at the work of this exciting up and coming textile and performance artist.
Human and non human bodies come together in ethical collective acts of making in the work of Tomas Saraceno, currently on display at Palazzo Strozzi in Florence and reviewed for this issue by Jade French; the tiny webbed worlds that are spun by spiders reflect the interconnected natural and man-made structures that our bodies are bound up in, systems and processes that feel increasingly fragile at this moment in time. Saraceno’s work reminds us of not only of our common humanity, but also of our interdependence with the non human and the natural world – as French’s review highlights, ‘the woven patterns that we mimic in craft and making practices are a homage to the biological patterns we pass by and through’.
We hope you enjoy this collection, reflecting on the physicality of crafting, the work our bodies do, and the power to move and be moved that they hold.
The William Morris Gallery’s compact but eye-opening exhibitions in their temporary gallery space never disappoint – and Pioneers: William Morris and the Bauhaus is no exception.… Review: ‘Pioneers – William Morris & the Bauhaus’