Six Branch is a collaboration between BA Textile Design students from Central Saint Martins and the Women in Hebron embroidery cooperative in Palestine. Here, contemporary design and traditional skills combine to cross borders with stitches.
Women In Hebron is a collective of 120 embroiderers based in the Hebron area. They produce textiles drawing inspiration from traditional patterns passed down through the decades.
The two groups have been working together since 2015 as a borderless design society. This project is the starting-point for many more collaborative skill sharing.
Kaunas Biennial, Mykolas Žilinskas Art Gallery, Lithuania
(18 September — 1 January 2016)
Commissioned by Crafts Council UK and developed as part of a Leverhulme Artist Residency at the Printworks Trust
An investigation into direct communicative artworks for the blind and visual impaired. The textile based scores are tactile sound generating surfaces that celebrate the braille music notation system of Louis Braille and the graphic scores of Cornelius Cardew.
Installation View at MoCA Shanghai Pavilion.
Fortune Tellers uses forecasts of the Shanghai Stock Exchange, provided by data analysts through future predictive algorithms and the calculations of a financial astrologer.
The same data is used to generate a score and direct an unfinished choir of three Chinese soprano singers, activated when the public enters in close contact with the interactive surfaces.
2010. Fourth Plinth, Trafalgar Square.
Now on permanent display at the National Maritime Museum, London
Nelson’s Ship in a Bottle by Yinka Shonibare MBE is a 1:30 replica of Nelson’s flagship, HMS Victory, on which he died during the Battle of Trafalgar on 21 October 1805. The richly patterned sails were inspired by Indonesian batik, mass-produced by Dutch traders and sold in West Africa. Today these designs are associated with African dress and identity. The characteristic bright colours and abstract symmetries of Dutch Wax fabric have accrued many complex, often ambivalent associations – with colonialism, industrialisation, emigration, cultural appropriation, and the invention (and reinvention) of tradition – all of which are foregrounded in Shonibare’s work.