This exhibition is a culmination of my graduate studies towards making space(s) to gather, ensemble. 

 

Textile processes and social practice inherent in fibre-work foregrounds this exhibition. Whilst I activated the MFA Gallery, I took on the role of facilitator, prompting others to linger and participate in a series of actions and co-creative works. Interactivity is at the heart of the space, engaging people in their sense of touch and collectivity. Participants share playful encounters via tactile discoveries, collaborative craft, and textiles learning through joined, repeated and collective gestures. Quiet contemplation, curiosity and/or active listening are also welcome and are a means to participate alongside material activations.

 

The participatory works in the gallery draw on themes of collaboration using textile crafts and play as a way to expand connections with one another (a principle of craftivism, defined by Betty Greer) (Pym 564). Techniques such as warping, weaving and mending are shared and practiced amongst participants, past and present. Two of the participatory works in the show: Chaîne Tracks and Communal Catalogne were designed collaboratively with my long time friend Mea Bissett, MA graduate in the Arts Education program.

 

Relational art and Fluxus are at the centre of my research for this thesis exhibition with collaboration, inclusivity and viewer participation as the primary link. Threads surrounding these art movements and their focus on relationship building and educational exchange help to frame the show. During the gallery’s opening hours, I hosted three drop-in workshops to activate various works via impromptu play and skill-shares. 

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Pym, Celia. "Mending and Anatomy: Making Your Hands Knowledgeable." Utopian Studies 28.3 (2017): 562-575

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Read more about the exhibition, and the thoughts and influences behind the work in my thesis text here!

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Photos by Arseni Khamzin

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