When She Goes Away

Ana Isabel Martinez | February 12, 2018
When I first arrived in Edinburgh, I had to stay for ten days at an Airbnb that was about a half an hour walk from the university. Every day, I had to walk up a hill and make my way through the new city. By about the third day, I started to notice some strange habits as I walked. The first was that for the first five minutes of the walk I would fuss about my clothing. I would think to myself “shirt? Ok, Hair? Fine, Pants? Maybe too tight, etc…”. The next part of the journey consisted of two things. The first was walking, staring, moving my arms and head, in a performative way. In a way that I felt looked right, attractive, or interesting.

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What Holds Us Together: The Parallel Crafts of Darning, Medicine and Literary Criticism

Sarah Stewart | December 4, 2017
Scrolling through Instagram a few months ago, I came across a video about Celia Pym, a textile artist and finalist in this year’s Women’s Hour Crafting Prize who has been spending time at the V&A darning people’s clothes. In the last 10 years, Pym has been interested in invisible but mostly visible mending – that is, rebuilding damaged fabric in a garment, restoring the warp and weft to exactly match the surrounding fabric for invisible mending, or, in the case of visible mending, choosing different colours, materials and weaves to fill the hole, making visible where the damage occurred. A kind of kintsugi for clothes. Pym notes that repair is not actually the aim, but more of a byproduct: ‘my interest is really in the opportunity, through mending, to talk to that person. I find if I ask someone if they have holes in their clothes and could we talk about them, something real gets said that really interests me about grief, or maybe about loss, or maybe just about love’ (Victoria and Albert Museum).

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What would you create to describe your creative process?

October 30, 2015 | Lisa Naas

The creative process is present across disciplines and used by everyone from artists to bakers to computer programmers to teachers. But though it is a highly personal endeavour, are there patterns or elements inherent to these individual processes? Lisa Naas’s videoart SORROWS documents her own creative process specific to her glass and sound project.

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