Project description

Embedded in the methodology of my practice is the weaving process. More specifically, it is rooted in the stage of preparation, the winding of the warp. In hand weaving, this action is most often undertaken on a warping frame (a frame on which there are a number of posts to hold the warp in place), in which the arm leads the yarn to trace a zig-zag motion upon the frame. Here, the movement of the body is condensed to a series of repeated gestures, not only being repeated through the act of winding the warp itself, but throughout history also.

Weaving can be a fairly solitary practice, which is indeed exacerbated by the isolation induced by our current global health crisis.  In this period of restrictions, I have turned my practice outward, using outdoor settings to facilitate interventions into the habitual environment and sites of familiarity.

Warping Roslin Glen

Roslin Glen, Roslin, Scotland, site specific installation, warp length approx. 12.2m, 2021.

Video, 08:45.

Looking up to a tree that has a selection of fine green yarn passing around it.
Close up face on view of a tree with strands of green yarn around the back and heading off either side of the image.
Strands of green yarn zig-zagging through a group of trees in a forest.
View of two lines of yarn from below, looking up to the sky.

Humans are dependent on interconnectivity and interaction with one another, much like warp and weft. In these installations, the warp is literal, the responses of the viewer acting as the weft. The environments themselves are subject to my response: I am both enhancing and censoring the landscape, both highlighting and hindering. The warp is integrated into the setting. To sever it is to end the work. I am but a vessel for the yarn, a facilitator in its navigation of space. 

Here, woven fibres transition to the weaving of voices. Physical weaving facilitates metaphorical weaving, in the forms of conversations, questions, melodic sounds, walking back and forth. In a moment where we all find ourselves facing increased isolation, these kinds of interactions are crucial. 

Warping Portobello

Portobello Beach, Edinburgh, Scotland, site specific installation, warp length approx. 3m, 2020.

Video, 04:22.

Strands of blue yarn wound around three groynes on a beach. The thread around two of the groynes has been crossed over, forming an 'x' shape.
Close up view of blue stands of yarn sitting on the horizontal centre of the image, in front of a barnacle-covered groyne.
Close up of blue strands of yarn cross over to form an 'x' shape.
Strands of blue yarn wound around three groynes on a beach.
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Fine Art - MA (Hons)

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