“Simon Peers explains the spectacle before us. ‘If we hadn’t made this permanent, this silk would be webs in the wind. That’s part of the magic. Something so ephemeral and yet somehow we’ve managed to capture it.'” (24)
“[F]or the viewer the question arises as to whether the wearer of a Ritchie ornament is being adorned and their personality expressed, or instead, whether the wearer’s body operates as a mobile gallery, showcasing Richie’s expressive material poetry, inviting approach and contemplation. Paradoxically, like much fine craft today, Ritchie’s work is more often seen in a pristine gallery setting or published photograph, without the modifying effects of wearer, garments, or other objects, or particular social contexts of use. While the gallery setting focuses the viewer’s attention on the works, it does not indicate the idiosyncratic and complex manner in which the jewelry will be incorporated into socia life.” (26)
Andre Woodward: My work is definitely time-based. There are about three different timelines going on in each piece. The tree grows. In the sound pieces, you need to consider the duration of the soundtrack, and in the pieces that incorporate lighting systems, you have that time going on as well. And then you have the time during which you are interacting with the work. I produce sculptural work because, with sculpture, there is you and the piece. There is not a flat divide—you and the piece occupy the same space. Once you realize that the sculpture is alive, something happens. You start to be sympathetic to the life-force. It isn’t merely an object. It’s a living thing. (29)
“Of course, big corporations are just as adept at manipulating the rhetoric of sustainability as young makers. But craft does have a special advantage. In the effort to promote more self-aware ways of living, the simple act of making by hand signifies direct engagement with an object, and therefore a degree of personal responsibility. Certainly, not every craft object is made sustainably; we have to get real about that. But the lesson of postmodernism is that the power of the image is not to be denied. It’s not enough to make things responsibly; we need to call on mass media to constantly remind the public of what responsibility might look like.” (023)
An excerpt from Glenn Adamson’s response to the questions: Is there a sustainability aesthetic? If so, how would you describe it, and which artists exemplify it?
Peter Shelton: This whole figurative versus abstract stuff comes from faulty thinking after World War II, suggesting that Modernism was fundamentally a battle between representation and abstraction. I don’t see it as one leading to the other or exceeding the other. It comes down to achieving some core expression, and the “hows” of getting there follow from that.
MDD: Do you mean that idea trumps process?
PS: Nothing is that simple. I mean that it’s inaccurate to see my work as growing linearly from abstract to real or simple to complex, or the reverse. Unlike many of my formalist predecessors, I don’t work linearly, evolving from project and situation to the next project and situation–ideas continue to circulate [...]” (41)
Triple Candie: The movement is a topical subject and one we believe in. Most art that is deemed culturally significant is the property of, or controlled by, a wealthy micro-sliver of the population. For art (with a small a) to become Art (with a capital a), it must enter this
territory of privilege. This process is fundamental. Arte Povera has been thusly transformed, its dirt and stones now sleeping under bulletproof glass. It is a wonderful illustration of an age-old problem that has become only more acute in our lifetime.” (12)
Holly Levell: Well, I looked at a lot of packaging design and how companies were making things. I did some work on one of the Heinz companies. The advertising team tries to think of products in terms of their emotional connection with people, so Heinz Baked Beans are all about a sort of nostalgia. The adults buying them now still remember being a child and having beans on toast on a rainy day. Heinz wants the customer to relate to the advertising and the colours of the packaging in some way. So I started to think about how to get people to look at objects. The idea of using textiles is of softening a solid thing, making it even more like the nostalgia thing – a soft sort of memory” (21)