Part Three: Research point.

http://www.worldofwearableart.com/category/image-galleries/winners/2011-winners

I can only be envious of the tremendous opportunity offered to students of the textile and fibre genre and regret that I was not involved from its beginnings as the first festival of its kind in 1987 in Nelson in the South Island of New Zealand. Firstly because it has now moved to a larger venue in the North Island and is recognised as a worthy international embassador for our country. The above URL highlights the winners for the most recent show in 2011.

http://www.worldofwearableart.com/files/siteimages/2011_profile-web.pdf

The above URL has all the background data to this great national festival.

For me it includes the integration of every facet of my current interests – art (textiles/fibre), design, music, movement and drama. I have been fortunate to see this genre evolving in our tertiary schools, not realising the potential and interest that was being conceived. The teaching of home economics (food and clothing) was in decline as new technology’s were being advanced by the ministry of education. The curriculum was moving from sewing and cooking to designing and the enhancement of soft and hard materials. Terms such as needlework and woodwork were of the past and textiles and wearable art was emerging –  a more comprehensive approach so it was said. But there was also another side to this marketing explosion – that of solo mothers and fathers not having these essential skills in one parent families. This is also true of two parent families – I believe.

In the current industry of clothing alterations the sewing on of a button is foreign to many families. One economics teacher tells the story of how a year nine pupil entering tertiary education for the first time did not know what was meant by having to peel an onion.

Because of the interest and entertainment level of this fast grow festival many technology departments in schools are riding the wave for reasons best known to themselves, but, also because of the great hype surrounding these festivals which are driven by sponsors and promoters possibly for personal and economic gains. Get on the band wagon – I say – for the benefit of textile and fibre artists and their works.

This festival is said to be the most creative event on the international design, fashion and costume calendar and is being viewed as ‘going off shore’ at some time very soon.It is on my list of “Must see/do”. I am also mindful of the Research point in assignment one ‘try to visit at least one exhibition of contemporary textiles and one historical or ethnographical exhibition collection in a museum or stately home. This will require me to travel to a metropolitan city in New Zealand or alternatively harass our local arts community  into setting up an exhibition in Timaru. Perhaps I could get involved?

 Being a retailer of dress and patchwork fabrics I have the luxury of having access to and knowledge of the materials and yarns in the photographs – on site. Basic fabrics such as homespun, muslin and cotton are a steady and popular stock item whereas fashion fabrics are at the whim and fancy of the consumer. Rather than stock every sample in the travellers stock book  we endeavour to have sole rights to specific lines rather than try to sell the same fabric stocked by other fabric retailers. This way the consumer knows that they will not walk down the main street and be one of many wearing the same fabric. The patchwork & quilting public are not loyal to their towns retailers unless the products are discounted or on sale. The P & Q  fraternity buy outside of their own town when they are on bus trips or holidays. This we know from asking the customers where they are from and most say they are tourists or from out-of-town. The current economic climate is such that we are selling 25 fat quarters for $50 being $2 each – and they are still not moving.

Craft-based textiles maintain a place in our New Zealand society because in the case of the Maori population they believe they are ‘the people of the land’ and their crafts have been handed down from one generation to another. Their polynesian ancestors were already raranga experts when they first arrived in Aotearoa. Because the plants that were the basis of basket and mat weaving in tropical lands did not grow as well in the cooler climates they were forced to search for alternative materials. Harekeke or flax was native to New Zealand and proved to be a satisfactory alternative. Kete continue to be made and are used by all New Zealanders and have become something of an NZ icon.

A strong and concentrated effort is currently going on to meet the terms of the Treaty of Waitangi signed in 1840. As a consequence ‘learning nests’ referred to as Kohanga Reo have been set up to teach and continue the ancient crafts of the Maori hence the reason and background to why there is a resurgence in craft-produced textiles such as Korowai  Maori Cloaks and other ornaments. See:

Http://www.maori-arts.com/weaving/weavelink.htm

Two craftsmen  one a leading sculptor and the other a self taught artist, both New Zealanders have a current exhibition at our local gallery which I viewed just recently.

Llew Summers told us that his primary focus has been on figurative works and is celebratory of the human form, affirming the beauty of the human body. Following a formative and revelatory overseas trip he has developed a use of religious symbolism becoming preoccupied with winged forms; most often, but not exclusively, attached to the human body. “What’s important to me is to get a balance between the physical and the spiritual in life.We are given a body and a soul – works must have a soul, rather than being merely clever or smart”.

His sculptures ranged from large-scale to more intimate pieces. His large outdoor sculpture ‘Tranquility’ sits outside our local town library. The smaller scale version of her was in the exhibition. The public were allowed to place their hands on the statue which normally is a no-no with exhibition items.

Colin Higgins also was a participant in the gallery with pieces that did not paint a pretty picture. He said “that was not their purpose or intent, rather they raise questions for us all to consider.I am hoping that my visual interpretations of the topics will be a catalyst which triggers the viewer’s conscience and that discussions will lead to a better outcome for the future. I paint in the hope that whatever emotion it takes you to I will get a response when sharing my ideas.”

He has mastered the medium of acrylic painting and each painting has a topic about a current issue that he believes must be addressed by every New Zealand for example the desecration of our land and waterways.