|Exhibition||TRIP : Textles Research in Process
An exhibition by the Textiles Research Group, School of the Arts, Loughborough University
Using the common denominator of the ‘design process’, TRIP Exhibition will reveal how many and varied are the approaches to creativity and research in textiles. Supported by the use of a digital show reel, each participating member of the Textiles Research Group (TRG) will demonstrate individual approaches to design through revealing research concepts and the process journeys that lead to textile outcomes. The exhibition provides a snapshot of practice based work that addresses ongoing research narratives within the TRG. Common to all of the work is an interest in the connections between craft, design and new technologies within textiles.
TRIP Exhibition runs in parallel with the TRIP Symposium
Venue 1: The Harley Gallery
Venue 2: School of the Arts, Loughborough University
Pennie Alfrey’s work represents a practice that is located within science and art. Textile conservation requires a holistic approach to the interpretation of the object that has already been conceived, designed, made and, in most cases, used. The aim is to preserve and reconstruct the appearance and the spirit of the object, to enhance understanding and interpretation, and, to locate it within its wider cultural, aesthetic and technological histories. Cleaning, consolidation and reconstruction are the key methods of conservation. Interpretation is further enhanced by digital imaging. Two projects, one complex and one simple, are represented here – a man’s woollen coat, exhumed from an 18thc internment in Coventry Cathedral; and a 19th century needlework sampler.
Val Beattie’s textiles evolve from her long standing fascination with historic hand embroidery techniques that demand exceptional investment in time and skill and which are consequently associated with luxury and exclusivity. The pieces demonstrate both experimentation with and the pushing of the boundaries of embroidery techniques that result in cutting edge conclusions and innovation.
Jan Bowman’s designs explore the relationship between woven structures, artistic expression and spatial interventions; her aim is to produce woven spatial divides and panels that go beyond mere decoration but serve to define, and are defined by, the context in which they are viewed. The work encompasses two main strands of research; the influences of traditional Japanese aesthetic and the rhythms of nature.
Tina Frank’s practice as a printed textile designer explores screen-printing processes and surface qualities onto a variety of materials that include wool, silk, leather, denim and wood veneers for interior fabric and surface applications. The design themes investigate imagery and pattern from natural forms, to geometric structures, to typography and architecture.
Daniel Heath’s work demonstrates his primary interest in craftsmanship, combining contemporary CAD with traditional silk screen printing process in order to work across a multitude of surfaces and materials.
Faith Kane’s work explores the textile design and making processes in relation to current thinking about sustainability, in particular the use of imagery and materials to explore the notion of a ‘local narrative’. The pieces for TRIP will focus on the use of nonwoven construction methods, laser marking and flax fibres.
Janette Matthews’ work demonstrates how three-dimensional surfaces and structures can be created through the application of laser processing to textile traditions such as pleating. Embedded in her textile design and making process is research for and with lasers.
Lauren Moriarty’s work focuses on a combination of textile and industrial design processes through exploring a wide range of both materials and processes. Her work for this exhibition investigates and experiments with the use of rapid prototyping within the context of three-dimensional textiles, showing how the process changes the function of the fabric.
Jan Shenton’s work revolves around the production of woven textile design for both furnishing and fashion markets. The designs produced represent ideas that are developed for immediate use in the market place and more experimental weaves that can be used as catalysts to stimulate new collections.
Kerry Walton’s work explores the relationships between drawing, design process and new technology user laser cutting techniques to create Textile Drawings. Themes in the work reflect Textile history, culture, process and tradition, making use of Rhythm, repetition, illusion, layers, tone and line
Rachael Philpott’s work explores the fold as a generator of both form and concept. Combining textile and non-textile techniques she evolves processes for the development of textile-type materials capable of holding adaptable, three-dimensional, folded forms with no supporting substructure. In these materials the textile surface becomes structural and has potential for diverse application at wide-ranging scales.
Current PhD Students: