Godfried Donkor is a Ghanaian visual artist living and working in London. His artistic practice straddles continents and cultures as well as sociological, and historical spheres. The film project, The currency of Ntoma (2012)is a brilliant example of his transcultural artistic approach.
The currency of Ntoma presents Donkor’s own mother as a collector of valuable objects – Dutch wax prints. The project is made up of two films (one audio+visual, one visual) streamed simultaneously on opposing walls in a gallery space. For the purpose of the Cultural Threads symposium, the two films were streamed side by side.
Australian textile artist, Julie Ryder, analyses transcultural encounter in her research project, Generate/Regenerate. This project features in Cultural Threads: transnational textiles today (ed. Jessica Hemmings) and Julie Ryder presented her research at the Cultural Threads symposium held recently in London.
Over the next week, the SITselect blog will look at the projects discussed in the Cultural Threads symposium held at Central Saint Martins, London.
The Cultural Threads symposium marked the launch of the book, Cultural Threads: transnational textiles today (Hemmings, 2015). The publication draws on a wealth of contemporary art and design to address issues concerning cross-cultural encounter.
Bristol Museum and Art Gallery’s current exhibition showcases contemporary trends in ceramics and glass from China. Many of the exhibiting artists have connections with the city of Jingdezhen where porcelain has been made for over ten centuries. All of the twenty artists selected for the exhibition challenge traditional approaches to glass and ceramics.
TIRAZ is the newly designed centre in Jordan for Widad Kamel Kawar’s collection of Arab dress. This is the most extensive collection of Arab textiles from the 19th and 20th century.
Created over the course of a lifetime the collection includes more than 2000 traditional garments, including those for celebration, everyday and religious use. The variety of styles, colours, and patterns reflects 19th and 20th century Arab cultural affiliations and social structures, offering an insight into the cross-fertilisation between Jordanian, Syrian, Bedouin and other Arab cultures.
Lydia studied Textile Design at Loughborough University; this included a year studying Communication Design at Hochschule RheinMain in Germany (2009-2013). Since then she has completed an MA in Modern Languages at the University of Bristol (Visual Culture pathway). Lydia’s research explores the use of textiles to express transcultural encounter. Her MA dissertation, Appropriations of the Oriental Carpet in Contemporary Art, analysed artwork that adopts the oriental carpet as its subject matter to engage with transcultural issues.
We are delighted to announce that the next Maker in Focus, SITSelect’s partnership with the very lovely Guild at 51, will feature silversmith Juliette Bigley. Working in silver and base metals, her work is both sculptural and functional and involves creating relationships within the piece, between the pieces and between the pieces and the viewer.
This post is a shameless celebration of SITSelect’s fabulous new initiative, Selected, a bi-monthly printed journal produced in celebration of makers, making and brilliant creative people who make our lives more beautiful and enjoyable.
People such as Sebastian Cox who makes very pleasing contemporary furniture from wood he coppices himself; glass artists Sally Fawkes and Richard Jackson, artist- weaver Jilly Edwards, designer maker Joseph Hartley, jeweller Mei-Ling de Buitlear, textile designers Amy Gair and Anna Gravelle, fabric and wallpaper makers Lewis and Wood, interior designers with a social conscience Nadia Oliver and Natasha Berri and collector of contemporary applied arts Charmian Adams.
I have just returned from Decorex and what an unexpectedly inspiring day it was. The theme for this year’s show was the Georgians and the organisers really did embrace the era’s spirit of innovation and craftsmanship, presenting several In the Making feature areas (I watched Watts of Westminster hand block some wallpaper and Nepalese master weavers create a rug for FRONT London) and a Future Heritage showcase.
There is so much to see at this year’s London Design Festival that my head is spinning. It will take time to digest, but in the meantime these are my highlights:
1. Xenia Moseley’s ladder for Richard and Ab Rogers. Part of the Wish List project on show at the V&A, this is a thing of simple, functional beauty with an added surprise in the shape of a leather slung seat and a folding table.