Stories written in relation to earlier works
Sample RED, Sample YELLOW, Sample BLUE
She thought that the correlations between the realms of textiles and computing were obvious. Not least the affinity of weave and the pixilated screen.
Both were grids. Both grid structures were integral to that which happened in them or on them. In them or on them - what did she mean by this phrase?
She had often heard textiles referred to as either constructed or printed. Lace, crochet, knitted fabric and tweeds, were some examples of the former,
whilst printed cottons, flocked and beaded fabrics provided examples of the latter. She wondered which of these categories plaid might belong to.
Plaid had to belong to the first category. The colouring of plaid was dependent upon the combination of the individual woven strands. Interwoven threads
of red and yellow would produce an area which would be perceived as orange. Horizontal threads of pure colour when woven through vertical threads would
intersperse, generating squares or rectangles of either pure or mixed colour. The fabric was constructed and that very fabric was the pattern. The structure
determined the overall colouring. The pattern was in the grid. Alternatively pattern or decoration could be added to an underlying material via printing or
physical application as with carpet-making, embroidery and applique. The patterning or decoration could be described as lying on the surface of the material -
on the grid. She contemplated her own childhood and remembered she had made a sampler whilst attending primary school. The sampler would be an example of
the second category. The decorative sampler certainly had its place in history as exemplar of tradition and ritual. She and other young women had been taught
embroidery on small squares of fabric whilst at school, as late as the mid-1950s. She had been introduced to the prescribed stitches and urged to perfect her
sewing skills. These skills were considered to be essential if she was to mature as a capable and useful member of society, ready to fulfil her role as wife and mother.
Aside from the fact that she did not particularly want to follow either of these occupations, she was not at all sure that the acquisition of these particular skills
was quite so crucial.
They were certainly skills which society deemed a young woman could reasonably be expected to achieve. The prevailing social climate affirmed values
promulgated by thirty years of war-time efficacy and frugality. A stitch in time saves nine - an orthodox and prudent approach but one extolling
the virtues of conservation, not creative practice. Was she being entirely dispassionate in her judgments or were these musings
the issue of once-bloodied fingers. She decided to make some samplers, which would be neither constructed nor printed.
In their form and content they would embody both past and future.
Sample R, Sample Y, Sample B
digitally printed, mounted and laminated
Copyright © 2004 A Eames