Literatura científica selecionada sobre o tema "Patchwork quilting"

Objects can evoke our most vivid memories and sensory emotions, through the stories that have been engraved into them across their lifetime. Throughout history, patchwork-quilting has been used to tell stories, hide messages and hold histories. They are seen as objects of warmth, comfort and security, inanimate extensions of ourselves that store our most complex sentiments and memories- becoming heirlooms that are kept in the families and communities for generations, preserving our histories and material culture.    I intend to explore the inseparable relationship between craft and narrative within quilts, whilst re-imagining the quilts forms and functions in order to communicate stories more vividly. To do so I will use my memories of My Dead Dog, Henry, to illustrate narratives and embed them into quilted objects to stage as a tableau of artifacts. I intend to encourage the viewer to realise the imagined, through a haptic experience of my material world, whilst simultaneously creating my own heirlooms that can be passed down so my stories are not forgotten.<br><p>The full thesis contains copyrighted material</p><p>which has been removed in the published version</p>

The research question for this thesis arose from the author's desire to find ways to integrate into her sense of Self her personal experience as woman and mother and to be empowered by that. She sought a source of empowerment that affirmed the life honouring, spiritual and ecological values that were being highlighted by the mothering experience. The connection is deepened further by the recognition of a time when these values were incorporated into the earliest of human creation stories, from watching the creative cycles of the seasons, and the bodies of women in the gestating creation cycles. The body which forms the presentation of this thesis is in two media, text and the visual arts. It is expressed and interpreted in three parts: through the texts of the book, 'The wheel of the year : seasons of the soul in quilts' and the research document, and through the visual medium of artquilts in exhibition which symbolise the Old European and Celtic seasonal celebration. The process for construction of this research has been to piece together the fabrics of two women's research groups' life experiences, and the author's own personal reflections on her life and theirs, through the creative process of mothering, patchwork quilting and participating in seasonal ritual<br>Master of Social Ecology (Hons)

The research question for this thesis arose from the author's desire to find ways to integrate into her sense of Self her personal experience as woman and mother and to be empowered by that. She sought a source of empowerment that affirmed the life honouring, spiritual and ecological values that were being highlighted by the mothering experience. The connection is deepened further by the recognition of a time when these values were incorporated into the earliest of human creation stories, from watching the creative cycles of the seasons, and the bodies of women in the gestating creation cycles. The body which forms the presentation of this thesis is in two media, text and the visual arts. It is expressed and interpreted in three parts: through the texts of the book, 'The wheel of the year : seasons of the soul in quilts' and the research document, and through the visual medium of artquilts in exhibition which symbolise the Old European and Celtic seasonal celebration. The process for construction of this research has been to piece together the fabrics of two women's research groups' life experiences, and the author's own personal reflections on her life and theirs, through the creative process of mothering, patchwork quilting and participating in seasonal ritual

The research is an arts-based project that investigates the influence of visual imagery and symbolism on ways of seeing as ways of knowing: that is, their influence on perceiving and perceptions. It explores these interactions in deep connection to place - the Southern Hemisphere, specifically the mid-east coast of Australia, and outside the usual constrictions of Western religio-cultural constructs. Involving women in creative processes and taking a gendered position on experience as an intentional basis of knowledge formation, the inquiry aims to ‘make visible’ (re-vision) experiences of creativity as spirituality, usually considered to be invisible because individual and subjective. It suggests that the creative process offers the opportunity for unfolding an autonomous, self-defined consciousness of the divine in the world arising from relation to place, and experienced as an auto-chthonic, reciprocal act of self-in-Creation. Three interrelated activities provided the material and mythical ground for the process of knowledge creation on three levels: the personal, communal and societal, all explored through the medium of textile art. The eight festivals of the Wheel of the Year revered by the indigenous peoples of Europe were personally re-visioned for their relation to a Southern Hemispheric cycle in a series of art quilts and in ten workshops for women in the creation of textile art through seasonal ritual for the Wheel of the Year. Four public exhibitions of art quilts were held to explore the cyclic process of Creation from another aspect: that between art as visual communication and its reception by the viewer (see Appendices). Celebrating and re-storying prehistoric indigenous spiritual practices revived in and for place, and creating art intentionally has revealed a re-fabrication of spiritual consciousness: a new-archaic imaginary for creativity and spirituality as embodied and embedded in Nature’s rhythms. Experienced as cyclic yet transformative, the research revealed an original, personal engagement in the Mystery as a complementarity of opposites: the reciprocity of dark with light, of death as renewal, of self as other. It gave rise to perceptions that re-integrated culturally induced ways of seeing and knowing, through indicating the possibility of an ‘imaginary of re-turn’ to direct perceptions of participation in Creation: one identifiable as an authentic, autonomous way of seeing/knowing – where such consciousness is sourced by being in relationship, to self as woman, local Earth rhythms and All-that-is-other.

Under projektet ”Att brodera är ett verb –Betraktelser ur ett nålsöga” har jag använt applikationsbroderi som teknik för att transformera och bearbeta material från min omgivning. Jag har sorterat alla material efter färgcirkeln och skapat rutor som jag satt ihop till ett abstraherat lapptäcke. Arbetet har syftat till att undersöka processbaserat görande och jag har därför tagit hjälp av verben i konstnären Richard Serras ”Verb list”. Jag har satt upp fyra regler för mig själv att förhålla mig till under arbetets gång. Med reglerna har jag velat eliminera alla val och processer som inte handlar om själva görandet i sig. Lapptäcket har tagit sin slutliga form utifrån det ramverk som reglerna utgjort. Under min opponering diskuterade jag och opponenten Karin Lundgren-Tallinger främst hur jag har förhållit mig till mina regler under arbetets gång och hur de hade kunnat vara tydligare. Till Konstfacks Vårutställning hängde jag upp lapptäcket på en ställning av skrot i ett hörn och spred ut vissa rutor och andra obearbetade material så som skräp och garner i flera delar av rummet. Installationen av verket gjorde jag för att skapa en känsla av att arbetet med rutorna när som helst skulle kunna återupptas och görandet forsätta.