I’m an animist. I will talk to anything. Perhaps more crucially, I will listen to anything/anyone. I get really excited about anything that turns out to be a conversation.
So, for some time now I’ve been working on a jacket for Tom. I think it will be the first of many. I’m using dead material reclaimed from jeans that are too worn out for other use. The available pieces of fabric for the project were determined by the state of the jeans and whose jeans they were – which had size implications. I started by removing and squaring off the biggest pieces of fabric I could get, and these went into the shoulder region. Smaller pieces were deployed further out.
Making the jacket was a sort of conversation between the available material and the desired shape, and that was interesting. I found that techniques I’d previously used when making blankets were really useful here. Patchworking with pieces of varying sizes can take a bit of figuring out.
It was when I started the embroidery that things got interesting. The embroidery has a massive practical function in that it strengthens and reinforces the fabric. So, the most intense embroidery clearly had to centre on the weakest areas of patchwork. From then on, the decorative aspect of the process became a conversation with the cloth. An aesthetic emerges from all of this that is entirely practical, and has a logic built not on design, but on need. It’s been fascinating to do.
Jacket embroidery is a conversation between the needle and the denim, the patches and the wool. It is a conversation between what the fabric fragments used to be and what I want them to become. They need to be strong for future use, so the imagined future of the garment has to be part of the conversation. Which has led me to thinking about where this garment will go and what will be asked of it, and who else I might be making jackets for.
What I am making is a craft piece. Looking at it, in progress, I’m really aware of how the shapes I’m using for embroidery relate to recent thinking I’ve done about rock art and stone carving. I’m aware of how what I’m making relates to the Japanese traditions I’ve been looking at. There’s also an influence of the kinds of abstract art I enjoy, because there are aesthetic decisions to make alongside the practical ones, and everything that is in my relationship with visual arts informs what I’m doing in this process. But, as a practical piece made to be worn, it will be understood as craft.
I’ll just haul my oft-used soap box out for a moment and mention that the distinction between art and craft is political, and loaded with issues around class, race, poverty, utility and who has the power to dictate what people’s creations are and mean.