Difference between revisions of "User:Vera/minor/What is your craft?"
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This is a difficult thing to do, to give myself a craft, approach or method. | This is a difficult thing to do, to give myself a craft, approach or method. | ||
| − | When I was 16 I had to make | + | When I was 16 I had to make the choice what I wanted to do with my life (this choice was purely based on the city where I wanted to live) and I chose a school for Graphic Design and stand building. It was just a choice and never my intention to be a Graphic Designer. Actually I found the computer terrifying and didn’t understand what was happening. I practised Graphic Design in an analogue way. Silk screening was my craft for a long time. I taught it myself and did it every weekend.<br><br> |
| − | on the city where I | + | Even though I do Graphic Design I like fashion a lot, not fashion fashion, but the fabrics, lines, colours, patterns in fashion. I didn’t do anything with it however, untill the moment I could choose my internship. Finally, I made a choice really based on what I liked and was very eager to learn. This was a product internship with focus on textile (weaving) and colour. Experimenting was a base to get me where I wanted to be. I learned that nothing comes to you, but that you will have go to the point where you want to be.<br><br> |
| − | Even I do | + | I didn’t have a smartphone or even apps; they where far away from my life. When I stared at Willem the Kooning there was more. I was forced to take Instagram, and I came in touch with the digital world. For me, a project with digital layers was unreachable until I followed digital craft and now also I work with the computer. Now, I have Whatsapp, Instagram and my own website. It makes me very curious why I was so afraid to participate. I was thinking that people can have my data and can do things with my pictures, but I am glad to know that I can also make projects based on other people their social network accounts. I learned that everything is possible, always. Even if you don’t know how to do it. It it doesn’t matter. If I see something in it, it will be there at the end.<br><br> |
| − | I didn’t | + | Most of the time I work with patterns, rhythms or colour and my method is learning by doing. |
| − | + | I’m very dyslectic and writing is the hardest thing in life for me to do. That’s the reason why learning by doing works for me. Graphic Design is the ordering and rearranging of the mess of someone else. Graphic Design has rhythm in it as well as patterns and social contact. Never in my life did I make something with fabric in the digital world. Till this quarter of digital craft, the French knitting stretch sensor. I like the process of knitting, weaving and sewing. It costs time, it is somewhat meditational to do and it feels as a craft, working with your hands. It is a very intensive and precise process to do.<br><br> | |
| − | I’m very dyslectic and | + | For my craft I want to use weaving/knitting/stitching. weaving/knitting/stitching expressing culture identity’s. This identity behind the weaving give it for my a structure where it fits in a culture. I was in a museum the Mesedag Collectie in Den Haag. At the wall there where beautiful wall carpet used as a wallpaper. It was incredible big and colourful, it’s more a big painting with culture influence of Asia.<br><br> |
| − | For my craft I want to use weaving/knitting, it’s | + | Everyone have some craft work material based weaving weaving/knitting/stitching objects, materials, cloches ad home. Also a expressing culture identify is for my Instagram in only images. This culture identifies and also social network statuses around the wold forming a picture in my head of symbolic statuses. Materialistic people how shows them culture identities. In the beginning of the story I was telling about my fears for the computer and also mobile’s. I share not really much in this world and try to protect my self to expose myself to everyone. Together with this weaving network systems I like to to explore social networks image on Instagram and explore if I can get some data which I can use in weaving or knitting like a wall carped.<br><br> |
| − | + | This status is important for everyone, even if you don’t care to much about it, there are always some important things to show or hide to or from people. In museums there are a lot of portraits to see of people that had a social status, it is the Instagram of the history avant la lettre. weaving/knitting/stitching objects for me is not only a creating a piece of fabric. It is more. It is the cycle of life in which we humans try to make contact and find things that fit in our life, not only now but also earlier in history. What they were wearing and the framing shows a lot of power. This image framing is also a part of Instagram, it is familiar also with the storytelling wall carpets of the early centuries.I want to apply this to the human image framing in the digital world to the analogue way of showing the power of a history way of crafting.<br><br> | |
| − | This status is for everyone | + | I want to explore the digital status of people compared to the status of people in the old ages by showing wall carpets.<br><br> |
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</span> | </span> | ||
Latest revision as of 10:30, 8 November 2017
This is a difficult thing to do, to give myself a craft, approach or method.
When I was 16 I had to make the choice what I wanted to do with my life (this choice was purely based on the city where I wanted to live) and I chose a school for Graphic Design and stand building. It was just a choice and never my intention to be a Graphic Designer. Actually I found the computer terrifying and didn’t understand what was happening. I practised Graphic Design in an analogue way. Silk screening was my craft for a long time. I taught it myself and did it every weekend.
Even though I do Graphic Design I like fashion a lot, not fashion fashion, but the fabrics, lines, colours, patterns in fashion. I didn’t do anything with it however, untill the moment I could choose my internship. Finally, I made a choice really based on what I liked and was very eager to learn. This was a product internship with focus on textile (weaving) and colour. Experimenting was a base to get me where I wanted to be. I learned that nothing comes to you, but that you will have go to the point where you want to be.
I didn’t have a smartphone or even apps; they where far away from my life. When I stared at Willem the Kooning there was more. I was forced to take Instagram, and I came in touch with the digital world. For me, a project with digital layers was unreachable until I followed digital craft and now also I work with the computer. Now, I have Whatsapp, Instagram and my own website. It makes me very curious why I was so afraid to participate. I was thinking that people can have my data and can do things with my pictures, but I am glad to know that I can also make projects based on other people their social network accounts. I learned that everything is possible, always. Even if you don’t know how to do it. It it doesn’t matter. If I see something in it, it will be there at the end.
Most of the time I work with patterns, rhythms or colour and my method is learning by doing.
I’m very dyslectic and writing is the hardest thing in life for me to do. That’s the reason why learning by doing works for me. Graphic Design is the ordering and rearranging of the mess of someone else. Graphic Design has rhythm in it as well as patterns and social contact. Never in my life did I make something with fabric in the digital world. Till this quarter of digital craft, the French knitting stretch sensor. I like the process of knitting, weaving and sewing. It costs time, it is somewhat meditational to do and it feels as a craft, working with your hands. It is a very intensive and precise process to do.
For my craft I want to use weaving/knitting/stitching. weaving/knitting/stitching expressing culture identity’s. This identity behind the weaving give it for my a structure where it fits in a culture. I was in a museum the Mesedag Collectie in Den Haag. At the wall there where beautiful wall carpet used as a wallpaper. It was incredible big and colourful, it’s more a big painting with culture influence of Asia.
Everyone have some craft work material based weaving weaving/knitting/stitching objects, materials, cloches ad home. Also a expressing culture identify is for my Instagram in only images. This culture identifies and also social network statuses around the wold forming a picture in my head of symbolic statuses. Materialistic people how shows them culture identities. In the beginning of the story I was telling about my fears for the computer and also mobile’s. I share not really much in this world and try to protect my self to expose myself to everyone. Together with this weaving network systems I like to to explore social networks image on Instagram and explore if I can get some data which I can use in weaving or knitting like a wall carped.
This status is important for everyone, even if you don’t care to much about it, there are always some important things to show or hide to or from people. In museums there are a lot of portraits to see of people that had a social status, it is the Instagram of the history avant la lettre. weaving/knitting/stitching objects for me is not only a creating a piece of fabric. It is more. It is the cycle of life in which we humans try to make contact and find things that fit in our life, not only now but also earlier in history. What they were wearing and the framing shows a lot of power. This image framing is also a part of Instagram, it is familiar also with the storytelling wall carpets of the early centuries.I want to apply this to the human image framing in the digital world to the analogue way of showing the power of a history way of crafting.
I want to explore the digital status of people compared to the status of people in the old ages by showing wall carpets.
It is a technology that was created simultaneously across the globe by different peoples and cultures.
Cloth is something, probably the only thing, that every human on the planet interacts with every day. It is familiar.
http://www.victoriamanganiello.com/
https://www.instagram.com/victoriamanganiello/
Ann Roth
Links:
https://en.wikipedia.org/wiki/Textiles_in_mythology_and_folklore
http://www.kobakant.at/DIY/?p=210
http://ilseacke.be/weaving/18/2012-01-01-workshop
http://www.theweavingloom.com/weaving-techniques/
https://en.wikipedia.org/wiki/Weaving
https://rugbygur.com/collabs/
http://www.victoriamanganiello.com/installation
https://nl.wikipedia.org/wiki/Heraldiek
http://www.annrothtextiles.com/the-process.html
https://www.textileartist.org/ej-tech-experimental-art-tech-lab/
wall carpet
https://loveofrugs.wordpress.com/2012/07/05/meaning-of-persian-rug-symbols
https://nl.wikipedia.org/wiki/Wandtapijt_van_de_Apocalyps
https://nl.wikipedia.org/wiki/Wandtapijt
https://www.rijksmuseum.nl/nl/rijksstudio/kunstwerken/tapijten-en-interieurtextiel
https://www.rijksmuseum.nl/nl/rijksstudio/1790973--julia-ch/verzamelingen/textiel?ii=40&p=0
https://www.rbth.com/arts/2014/01/10/behind_the_mystery_of_wall_carpets_32165
