Archives for posts with tag: weave

From Here and There flyer3 Luddite Drawing Plain Weave (Tim Shore) SML

From Here and There

Three of my ‘Luddite’ series drawings have been selected for the group exhibition From Here & There: Drawings from Colorado & Wales.

The exhibition, curated by Jonathan Powell, director of the Elysium Gallery (Swansea) will open first at the Clara Hatton Gallery (Colorado State University) from 26 September to 26 October 2014. The exhibiton will then travel to Wales for From Here & There: Drawings from the UK at the elysiumoffsite venue ‘The Old Iceland Building’ in Swansea.

The preview is on Friday 28 November and the show continues until 20 December.

The three A2 drawings exist only as Giclée prints (oh the irony). They explores ideas around drawing, work, craft, repetition, copying and the presence and performance of the body in the drawing process.

In making the drawings I set myself rules that I deliberately could not meet. I devised a game that pitched the production of the drawing against factors like tiredness, concentration, measurement and correctness. My methodology was guided by Marina Warner’s writing about play and the haptic qualities of making and experiential learning, and David Pye’s theory of  ‘the workmanship of risk and the workmanship of certainty.’

The drawings look like textiles and in a way represent weaving and not weaving. They look like they may be an image of plain weave, but the drawn lines are not actually interlaced and therefore only have the appearance of warp and weft superimposition. The play with production and copying and the removal of the (drawing) hand is further tested by the last iteration of the drawings in their final form as digitally produced Giclée prints.

From Here & There: Drawings from Colorado & Wales
From Here & There: Drawings from the UK

Too much night, again. Pae White, South London Gallery
13 March to 12 May 2013

SLG Pae White A SLG Pae White BSLG Pae White C SLG Pae White D SLG Pae White F

Visited the South London Gallery yesterday to see Pae White’s installation ‘Too much night, again’.

The exhibition guide says it is about insomnia and the ‘transience of our existence’. Thousands of lines of coloured yarn spell out the ‘words’: TIGER TIME and UNMATTERING, apparently random words at a ‘super graphic’ size that carry the weight of an unknown dream significance. I don’t think unmattering is a word, but that doesn’t matter I suppose. Originally Tiger Time was going to be  Tiger Tiger until someone pointed out that Tiger Tiger is a UK bar chain. However Tiger Tiger also recalls William Blake’s poem The Tyger, which begins: Tyger!, Tyger!, burning bright / In the forests of the night, / What immortal hand or eye / Could frame thy fearful symmetry?

Through an intricate construction of mapping, criss-crossing and iteration letters are revealed and words are built and the yarn pools at the stress points of the letterforms. But it isn’t one continuous thread. Each length of yarn is tied off at both ends to either a letterfom point or a ‘control’ line facing the letterform. This is understandable but a bit disappointing as the work as a whole is not under tension, it just appears to be. Conrad Shawcross had the same problem with Chord, a ropemaking installation in the Kingsway Tram tunnel in Holborn, London (2009). Two machines spun strands of string into a thick ‘hawser’. There was insufficient tension, or rather tension was not sustained as the work progressed and props were needed.

What I think is really successful about ‘Too much night, again’ is the work’s powerful physical presence, the installation’s material and spatial qualities are striking. When you first enter the gallery and walk instinctively beneath the apex of the crossing threads it is very easy to walk right into the fragile looking yarn because the multiple and densely interlaced lines create a disorientating layered ‘fog’ effect where it is impossible to judge what is near or far. The exhibition guide says you have to position yourself within the installation to read the lettering and I found that I couldn’t read until I had measured myself against the yarn itself.


Recently got all my old APS (Advanced Photo System) film rolls scanned and these pictures turned up. They were prepatory material for an animation project (1999), but never used. But interesting now because of recent thinking about the body, hand and gesture, and also the grain of the film is a surprise!

Full set (17) on Flickr

Black Disc, 793 Minutes (Detail)

Lesley Halliwell’s spirograph drawings were shown in ‘Beauty is the First Test’, a group show at the Pumphouse Gallery, Battersea Park (12 September – 25 November 2012)

Front part of red velvet chasuble with pomegranate pattern (close-up detail). Italy: 15th century. 65 x 46 cm. Silk. [SST 129]

The Stuff that Matters
Textiles collected by Seth Siegelaub for the Centre for Social Research on Old Textiles. Raven Row (1 March to 6 May 2012).

The picture and descriptive text above are taken from the ‘The Stuff that Matters’ catalogue. The fabric is velvet not taffeta, but the following description of taffeta, also from the exhibition, is intriguing.

Etymology of the word taffeta.


What remains to be discussed is the etymology of the word taffeta. Without recommencing here the investigation of which the results are consigned in Ménage’s Eytmological Dictionary, we hasten to declare that we share the opinion of Samuel Bochart and Sébastien de Corarruvias, who see in this word an onomatopoeia. Indeed the syllables of taf taf reproduce rather accurately the sound of taffeta when ruffled. In the middle of the 17th century, when one wanted to say informally that a man was very afraid, that he was trembling with fear, one said that his heart went taf taf. Whence, undoubtedly, the argotic word taffeta, synonymous with fear, or fright.

Michel, F. (1852-1854) Recherches sur le Commerce, la Fabrication et l’Usage des Étoffes de Soie, d’Or et d’Argent et Autres Tissus Précieux en Occident, Principalement en France Pendant le Moyen Âge. Paris.