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India’s multi-speed textiles

I must come soon to the daunting question of framing some kind of response as an artist to the quantity of images I have gathered from my two research sites, Green Street, Newham, E.7-13, with its South Asian textile outlets; and the South Asian textiles collection at the V&A. I went to India to try and understand a little more what it was I was seeing in these sites. Iâ??d like to share some last images from that journey before moving on.

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V&A Contemporary Tapestry Collection and Lynne Curran

I am in the middle of weaving my tapestry for the V&A’s Collection. It’s taking a long time! The piece will be around five feet in height. Frustratingly, there’s been very little that is easily photographable as it’s very pale and quite minimal – the first half, particularly so. I will publish images of the progressing subtleties in future posts. A few weeks ago I was in the textile galleries with V&A photographer Peter Kelleher.

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Opening & Recycling

The Image and Identity exhibition that was mounted in the Sackler Centre outside the two residency studios was opened on Friday 18th July by Margaret Hodge the Minister for Culture and Sport, she also took time to visit the residency studios.As equipment arrived I had the problem of assembling the various parts with limited tools and I struggled, but managed to lift an extremely heavy set of rolling mills.

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A Medieval (and Renaissance) Marvel!

By Stuart Frost How many of you can identify the object that illustrates this blog entry I wonder? Not many I suspect. Any Daily Mail readers who read page 21 of the edition published on Wednesday 6th August will have a better chance of identifying it than most.  This bulky green artefact is what the Mail, […]

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Moving In

Over the last 22 years I have crammed the making of my own work into weekends and evenings as my job as Head of the Jewellery and Silversmithing Department at Edinburgh College of Art took up a huge amount of time.When I did get access to the lovely room that is my studio I very rapidly had to earmark tables, chairs, showcases, put some things on the wall and order equipment and materials for the classes.

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Inside some Indian workshops

I went to India in order to try and understand a little, if I could, something of the cultures which produce the ornament on the South Asian clothing I see in London, and which add to the many existing strands in the cityâ??s visual patterning.I wanted also to see how the textiles are produced. This post shows some image sequences from two workshops, in towns geographically far apart.

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The hand at the edge of the world

Since I have been at the V&A I have been following a kind of trail. I have always been drawn to the curious or odd aspects to inanimate objects and their stories. The prospect of finding starting points for film-making was daunting, there are 4.5 million objects in the museum and I could make a film about anything. A random walk through the galleries became potentially hazardous, often resulting in yet another object apparently clamouring for attention from it’s display case.

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Scale & Symbolism

The highlight of my six weeks was the time I spent with the jewellery curators looking at and handling pieces of jewellery in the collection.

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Finding my Space

The residency began on the 2nd of June and the new education centre was still under construction when I arrived so, for the first 6 weeks, I did not have a studio. All my tools, catalogues, reference information and materials were locked in the ancient trunk I sent down and it was kept safely in the post room so I was unable to access all my carefully prepared material.I used the six weeks without a studio to wander through the eight miles of galleries in the V&A with camera and sketchbook.

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Introduction

The Artist Jeweller Residency I applied for over a year ago is based in a studio in the new Sackler Education Centre within the V&A.The Residency is the joint initiative of the Crafts Council and the V&A and I will be based in the V&A for 3 days a week for 6 months. I am expected to think up ideas for and be involved with various teaching projects, to hold open studios for the public while also contributing to the Maker Development Programme for the Crafts Council.I have been living in Edinburgh since the early 1970s and my life and …

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