The Pattern Lab http://www.thepatternlab.com/ en Copyright 2008 Sun, 06 Apr 2008 22:22:38 +0000 http://www.sixapart.com/movabletype/?v=4.01 http://blogs.law.harvard.edu/tech/rss Alight Here Alight Here Installation Shot 02.jpg

Alight Here


Raw & Co Gallery, Cleveland Ohio, U.S.

The following text and images are a transcription of the presentation, made  by Jennifer Wright to  the conference Touch, Textiles and Technology, held at Goldsmiths College in London during September 2007:

To conclude this presentation I would briefly like to focus on the development of one specific body of work generated within my own practice, as a way of reflecting upon some of the speculative possibilities and implications of interacting with information through the technologies of the virtual . This is a work, that does not literally incorporate new technologies into its material manifestation, but can be interpreted to engage its audience through utilising qualities that work both by analogy, through reference to the ‘everyday’ experience of these interactions, particularly those experienced within the domestic interior and by ‘affect’, achieved through deliberate, autonomous transformations of materials through process, which emphasise the phenomenal qualities of colour, light and haptic perception of some very different materials.

The work itself formed an installation called Alight Here, and was exhibited in the Raw & Co Gallery, Cleveland Ohio last year.

]]> http://www.thepatternlab.com/2008/04/alight_here.php http://www.thepatternlab.com/2008/04/alight_here.php Alight Here Sun, 06 Apr 2008 22:22:38 +0000 Re-valuation

R e – valuation

The evocative power of the familiar


Pip Culbert, Jane Langley, Kathleen Mullaniff, Jackie Whitwell

Private View: Wednesday 2nd April, 6.30 – 8.30pm

3 – 26 April 2008
                                                                       
jaggedart is delighted to present an exhibition by four female artists whose works re-visit aspects, elements and objects of our familiar surroundings and the everyday. Notions of femininity, domesticity, home memories and what makes something become familiar are explored.

]]> http://www.thepatternlab.com/2008/04/re_valuation.php http://www.thepatternlab.com/2008/04/re_valuation.php Current Exhibition Sun, 06 Apr 2008 15:12:34 +0000 Jennifer Wright: Current Research Jennifer Wright: Current Research

Jenifer Wright is a member of CFAR Centre for Fine art Research, BIAD Birmingham City University

Current Projects:

Space Gender Surface


This project will utilize methods and methodologies from science, specifically those exploring the cognitive and haptics in the fields of  Neuropsychology and Neurobiology (Historically, much research has been carried out in this field exploring connections between to spatial skills, Mathematics and gender. More recently research has been carried out in the field of haptic orientation perception). It will also utilize new technology engaged in motion capture to create aesthetic works that draw or map perceptual responses. The aim of this interdisciplinary work is in the first instance to analyze gender difference in perception. The project would explore spatial visualization and haptic orientation in and shaped by domestic space.
In the second instance, the research would examine links between artworks by women concerned with a feminine aesthetics and the finds of mapping perception in domestic space. A further outcome of the project would be a series of works produced from the initial stage of research (mapping the cognition and perception in domestic space), to evolve or define a gender aesthetics (potentially within a gendered virtual).

AHRC Landscape and Environment Programme


On-The-Go Mobilities Settlement & Performance
Royal Holloway
Exploring movement and memory of the domestic space in public places.

]]> http://www.thepatternlab.com/2008/04/jennifer_wright_current_resear.php http://www.thepatternlab.com/2008/04/jennifer_wright_current_resear.php Sun, 06 Apr 2008 14:54:08 +0000 Projects and Exhibitions A proposal based on Pattern Books for Zoo Art Fair. Curated by Freddie Robins and Jane Langley.


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Middlesex University research grant awarded to Kathleen Mullaniff for a Pattern Lab publication.


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Jennifer Wright: Current Research

Jenifer Wright is a member of CFAR Centre for Fine art Research, BIAD Birmingham City University.


Read more...



Jane Langley has just been made a research fellow at Constance Howard Resource and Research Centre In Textiles at Goldsmiths College, University of London. Langley is making a series of paintings based on Constance Howard’s embroidery samplers.


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Jane Langley is collaborating  with Sue Hubbard on a project to mark the bi-centenary of Charles Darwin.


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Kathleen Mullaniff is researching botanical imagery and their relationship to floral textiles at Kew Gardens.


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Kathleen Mullaniff and Jane Langley are  exhibiting at Jagged Art in London from 3rd – 26th April 2008.


Read more...



Read about The Pattern Lab in:

Contemporary Textiles
The Fabric of Fine Art


From the loom to the white cube, textiles have been making waves on the fine art scene in greater and greater measure over the last fifty years. Beautifully illustrated, Contemporary Textiles: The Fabric of Fine Art is a stunning and comprehensive look at emerging artists from one of the most exciting mediums in the fine art world today, that profiles some of the most daring and innovative examples of textiles in fine art.]]> http://www.thepatternlab.com/2008/04/a_proposal_based_on_pattern.php http://www.thepatternlab.com/2008/04/a_proposal_based_on_pattern.php Projects and Exhibitions Sun, 06 Apr 2008 13:44:06 +0000 Paisley Installation View

Paisley

Exploding the Teardrop


In collaboration with The Pattern Lab, PM Gallery presents a show of new work exploring the roots of paisley – its origins, development over the centuries and the myriad uses to which it has been put. Eight international artists contribute to this sumptuous exhibition, which is sited across Sir John Soane's Pitzhanger Manor-House and Gallery.

]]> http://www.thepatternlab.com/2007/11/post_3.php http://www.thepatternlab.com/2007/11/post_3.php Paisley Tue, 27 Nov 2007 23:12:09 +0000 Links Artists Peter Dukes
Nicky Hirst
Jane Langley
David Mabb
Paula Mettler
Simon Morley
Kathleen Mullaniff
Freddie Robins
Kate Scrivener
Finlay Taylor
Miranda Whall
Elaine Wilson
Jennifer Wright

Curators and Writers

Sue Hubbard

Venues

Victoria and Albert Museum
Bankfield
PM Gallery
Abbot Hall
MoDA (Museum of domestic design and Architecture)
Jagged Arts
National Museum of Women in the Arts

Universities

Middelsex University
Birmingham City University
Goldsmiths
Constance Howard: Resource and Research Centre in Textiles

Publishers

Block Dog Publishing

Exhibitions

Jane Langley discusses Exploding The Teardrop On Radio 4 ]]> http://www.thepatternlab.com/2006/12/links.php http://www.thepatternlab.com/2006/12/links.php Links Tue, 12 Dec 2006 11:15:23 +0000 Patterning Attention Patterning Attention by Janis Jefferies

Stand in front or rather move across the surface long enough to give it some play and it starts to play with you. Try and grasp the pattern. 'It defies you. Try and hold it, finger its details and you are denied. Try to let it 'unfold itself' towards you, perhaps as a musical sequence, then as your eyes flirt and flit around the motifs, listen attentively to it's quiet rhythms. There is an eloquent, soft kind of melody at work here, composed in a funny little speed of brushstrokes that entice a lightness of step in the fingers and the eyes. Observe a field of imprints, traces and gastrula marks as you glance from one canvas to another or perhaps it is a skip. All appears to be remarkably underscored but subtly orchestrated in the coupling of colours that merge as if into a hazy sketch. There's dusty pink here that glides into a blue grey pink and then chases a yellowy pulse. An edge of gold slips over and under a hatched, grey toned slippery grid. Shimmering lines and silvery flicks of black, score and cluster into an optical impression as if it's a 'Monday or Tuesday.'1. 'Do not be deceived, something is jostling for attention, but there is no single area if importance to fix your gaze, nor a hierarchy or priority of where you should fix your attention. There's a plaid, corn like combination (but then it could be Canterbury bells, but they aren't they upside down?) that run the length of the horizontal but it won't be joined up but then at the bottom of the canvas the motifs congeal. There is no more space. 'I am falling down. 'It does not seem safe just now to linger. As a small child and as a young teenager 'I had an aversion to pattern; most likely it was the garish floral frocks of the 1950S or the large blue blooms of the wallpaper in my bedroom, either way pattern for me projected an anxiety if emotional chaos. This was not helped by reading the Yellow Wallpaper. The story confirmed my worst fears. Pattern making itself can be playful and either repetitive or repressive; pattern can make sense - but not meaning' 'It can tease, frighten and enlighten. I am not so sure about pleasure.

]]> http://www.thepatternlab.com/2006/11/traces.php http://www.thepatternlab.com/2006/11/traces.php Traces Sun, 19 Nov 2006 20:54:46 +0000 The Tear Drop Explodes An exhibition all about paisley. Opening November 2007 at PM Gallery in London. The Pattern Lab have invited artists to develop new and experimental work relating to the ancient buta or paisley motif. http://www.thepatternlab.com/2006/11/the_tear_drop_expldes.php http://www.thepatternlab.com/2006/11/the_tear_drop_expldes.php Fri, 17 Nov 2006 12:58:33 +0000 Traces

Traces


Interiors was a series of paintings, produced over a period of 8 eight years and inspired by a small sample of 18th century block printing. Kathleen Mullaniff.

Textiles with printed patterns grew increasingly popular for clothing and furnishings in Britain from the middle of the 18th century. The range and quality available to customers was constantly widening through innovations and refinements in production methods for the spinning and weaving of cotton thread, which improved the quality of English cotton available to the textile printers. Fine and easily draped fabric was well suited to the softer, less structured style of women's dress developing in the 1780s.

Wood blocks were used to print multi-coloured dress and furnishing fabrics. For this example the colours were built up with a series of blocks carrying madder dye with different mordants (substances which fixed the dye) to produce the shades required. Blue and green (blue over yellow) were added by painting or 'pencilling' indigo onto the fabric with a brush.

by Clare Browne, curator in the V&A's Department of Furniture, Textiles and Fashion. Courtesy of the Victoria and Albert Museum, London.

]]> http://www.thepatternlab.com/2006/11/traces_introduction.php http://www.thepatternlab.com/2006/11/traces_introduction.php Traces Wed, 15 Nov 2006 20:54:46 +0000 Purl purl_04

Purl


An exhibition by three British and three American contemporary visual artists at the Museum of Domestic Design and Architecture, London, 2004

Laurie Addis, Michelle Charles, Michelle Grabner, Jane Langley, Kathleen Mullaniff and Jennifer Wright

All art is an act of translation, but there is a tendency to see translation as a process which can only impoverish or misrepresent the original  – a process in which something is inevitably lost. But at its best, translation weaves together the essentials of the original with the implications of its new incarnation; it can infuse fresh associations, and suggest new interpretations, especially where something has been dulled by familiarity. This process – by which something is found in translation – is abundantly evident in this exhibition. Each artists has taken familiar forms, traditional methods and ‘found’ motifs and re-presented them in ways which enrich our understanding, confront our prejudices and preconceptions, and above all, compel us to re-examine the givens of those fraught oppositional categories, ‘art’  and ‘craft’. Each of the artists has produced work in response to material – either specific or generic – in the collections of MoDA, using a variety of media including digital technology, weave, print, painting and stitch.


]]> http://www.thepatternlab.com/2006/10/purl_essay.php http://www.thepatternlab.com/2006/10/purl_essay.php Purl Tue, 17 Oct 2006 12:06:22 +0000 Showhouse Press Press pack Dowload a press pack here (1.93mb pdf)
Dowload the Gallery publication for Showhouse (1.45mb pdf)]]> http://www.thepatternlab.com/2006/10/showhouse_press.php http://www.thepatternlab.com/2006/10/showhouse_press.php Showhouse Fri, 13 Oct 2006 11:59:15 +0000 Loop press Press pack Dowload a press pack here (2.56mb pdf)]]> http://www.thepatternlab.com/2006/10/loop_press.php http://www.thepatternlab.com/2006/10/loop_press.php Loop Fri, 13 Oct 2006 11:42:20 +0000 Spin spin_05_tmb
spin_02_tmb
 

 

Spin


An exhibtion by five contemporary artists; Helen Ireland, Kate Scriveners, Finlay Taylor, Jennifer Wright and Jane Langley, at the Victoria and Albert Museum, London 2001

Text by Sue Hubbard

Applied and decorative are terms that have traditionally been given to the domestic arts that have adorned both home and person. It Is as If the notion of its application signified a reduction in the intellectual effort or manual dexterity required, reducing craft to a lower rung in the pecking order of artistic hierarchy. From the renaissance on there emerged a clear division between the fine and the decorative arts, which has largely persisted until now. This exhibition of five contemporary artists not only illustrates their debt to the patterns and designs of the past that have acted as catalysts for much of this work, but also subverts the boundaries between these rather arbitrary categories and creates links between historic artefacts and contemporary creativity.

]]> http://www.thepatternlab.com/2006/10/spin.php http://www.thepatternlab.com/2006/10/spin.php Spin Wed, 11 Oct 2006 12:38:33 +0000 Space craft

Spacecraft


An installation for the Eagle Gallery, 2004

Day light no longer pervades the space, just information, transmitted as visual data. Jennifer Wright and Jane Langley use their work to transform the gallery, sealing off the room from a notionally collapsed 'exterior world'. Shutting down 'real time' from the outside, the artists draw our attention to the space as a continuum of shifting patterns.

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Showhouse


PM Gallery and House

Paula Mettler's slightly larger than life photographic portraits of contemporary women in period costume haunt and disturb, within Soane's (once) rural retreat. In the Upstairs Drawing Room, David Mabb's large paintings, overworking a William Morris fabric called 'Bird and Anemone', will create confusion, clamouring for attention against the vigorously patterned wallpaper. In line with Soane's eccentric delight in the Folly, Peter Dukes places a model Folly in the Gallery, furnished in the style of the House, with peepholes, through which video imagery will show 18th Century inhabitants enacting rituals of self adornment, giving a 'what the butler saw' quality. In a 3 hour performance, (date to be confirmed), Duke's will undertake similar rituals, appearing throughout the House.



]]> http://www.thepatternlab.com/2006/09/showhouse.php http://www.thepatternlab.com/2006/09/showhouse.php Showhouse Fri, 22 Sep 2006 12:23:15 +0000