Duration: 32 Hours
Materials- Crochet Hooks, Hand Spun Polyester Yarn, twine, 3" speakers
Throughout the duration of a one week exhibition in the LVK Gallery...
I will be actively crocheting in the space.
Each day when the gallery opens I will activate sonic directions for my performance.
I will then begin to crochet strictly following these directions one every other hour.
I will spend one day of the exhibition unraveling my installation and rewinding it into balls of yarn.
"The idea of structured freedom is that without structure you have no freedom. The basic premise of this entire philosophy is called the limiting order and it's based upon this idea. The greater you limit yourself, the greater the creativity." walter nottingham
It is my intention to establish a structure in which I utilize improvisational craft techniques to push my creative exploits in unknown possible directions.
This crocheting rule structure works to alter artistic authority thus subverting the intent of decorative arts and handicraft. (ornamentation, functionality, ie.) Though this deauthoring is never truly achieved due to the direct connection to its creator and the space around it, my use of repetitive action develops a discourse between temporality and materiality.
The repetitive build up and decrease of material is intended to reveal a temporal quality that is not always readily perceptible in fiber arts or craftwork. This is foray into fiber arts which focuses on fiber art gestures rather than objects. Inherent in this process is the notion of failure since fiber strategies are most often utilized toward production. In other words, the purpose of the act of crochet is to make something. How does a person crochet without making something? Thus the ultimate intent is to display the action of crocheting and it's unraveling.
The use of crochet techniques and material is meant as an anchor to craft traditions which prescribe a personal mode of contemplation and a connection to social communities. "I crochet because I enjoy the repetitive action and the contemplative space it affords" This in conjunction with an established community allows me to connect to a larger demographic of culture while still focusing on myself; which in turn allows me the freedom to restructure my art practice.
The various craft cultures of interest are not specifically involved in high arts or gallery spaces but I am interested in using the gallery latticework in a limiting manner to develop a launching pad for this dialogue to be born; the use of white is meant to reflect the environment of the gallery space which is the home of this specific iteration of performance.