Still unclear of my future after ACAD, more about selling my weavings has always been an option. Yesterday at work I had a conversation with a client about textiles. As a mother with young children, she mentioned a brand called ‘Uppymama’. Advice or knowledge about the textile world is not a popular response I receive after describing my degree, so I was extremely excited to look up this company she was raving about.
Uppymama is a company which hand weaves and finishes baby wraps, and is based out of Alberta. They appear to be woven out of 100% cotton, going from the hands of the weaver to a seamstress who finishes the edges. The wraps sell quickly, but as my client added, the real money is in the re-selling. The only thing I didn’t like about this company is that they aren’t as excited about the woven material, and market it solely for its purpose, “this is not a piece of fabric. This is a baby carrier”. However, they do give lots of credit to the fibre artist!
Uppymama is a great example of a creating a functional art object in high demand with the right materials, knowledge and marketing skills.
Visit their website here:
In an effort to condense my ideas and make them applicable to my practice, pharmacy
I have began to narrow in on suspension as a way to affect a public space or gallery space. From the beginning of this exploration I was interested in tension of materials; although a suspended piece can never actually float in space, bronchitis
therefore removing some obvious tension, store the placement and angle can have an effect on how it is viewed and how the materials have a conversation with one another.
I feel excited about this path, and also feel resolved in having a more succinct idea. However, I will continue to see how the process of making affects they way I speak to the work.
I have started looking at a couple textile artists who beautifully utilize suspension. One that stood out to me in particular was Ken Unsworth. He is an Australian sculptural and installation artist. The work that caught my eye was a series of suspended rocks, held by a massive amount of thread. He is interested in creating sculptures that play on memory. The experience happens either in person with the memory that is taken away from seeing the work, or through a rumour of a memory. This gives the work an ephemerality that I admire.
The tension created in this work is exactly what I love: an ode to the soft being strong.
“Suspended Stone Circle II, (1974-1977, 1988) by Ken Unsworth.” Art Gallery NSW. N.p., n.d. Web. 18 Nov. 2015.