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Class Quilt

For this unit our class made a collaborative quilt. So the people in my group got to do this twice 🙂

The garden – sustainability and connectedness.

  1. After reviewing some of the texts in class, and online links about quilting, sketch a few designs of the piece you would like to complete to contribute to this group quilt.

Here’s mine. It is based on one of Naomi’s drawings.

2.  Use your creative design to layout your block – cut your fabric into pieces and begin to lay your collage of fabric onto the principle backing. stitch them onto the background using a variety of stitches you have learned. – running stitch, straight stitch,

This is what I picked out for the ground. I was inspired by watching Kathleen Baer’s course on Curious Mondo. It’s called From Traditional Quilting to Contemporary Art Quilting  There was a free live tutorial and I actually managed to watch most of it.

Naomi told me I had to do it over. She wanted it to look more like her picture.

3.   Draw out your desired pattern onto your fabric pieces. Cut and iron each one and then pin and stitch into place.

I didn’t actually do it this way. I freely cut most of my pieces leaning to the big side and then trimmed them down. I started by hand sewing, but it was taking a long time, so I broke out the sewing machine.

I think I am glad Naomi told me to pick different colours.

But, I am also glad that I watched Baer’s course, because it made me realize that all my experimenting is actually okay. My mom’s inner critic always made her say that her quilts weren’t good enough to sell at the craft fairs because her corner’s didn’t match up, but there is a good deal more freedom in an art quilt.

The ecological message I was going for was how we can be focused on the present, which can prevent us from having a long term plan. So the flower, which seems healthy, fills our vision, but the tree in the background is still present and needs us to consider it in our ecological plans.

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Clothing Reconstruction – IDEA OVERLOAD!!!

Oh. My. Gosh!

I actually love this. I love upcycling! I had so many ideas for what I wanted to make and I couldn’t choose.

Click to see my Pinterest board on handmade model ships

 

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Links to the Curriculum

So there are all kinds of ways to integrate textile arts into the curriculum.

Metis Finger Weaving

Last semester, I was teaching Metis finger weaving to grade two classes. This brought First People’s principles of learning into math and in some ways made the math part of the activity incidental to the social studies part. The math was essential, but it was activated from prior learning as it was modelled in the example, then applied during a guided process and eventually subsumed into the weaving process as just one step of dancing hands and strings.

As an aside, I think I would modify the S.T.A.R. method to something more intuitive for kids. I didn’t actually follow the steps of the STAR method because arrange and regroup are not enactive words for grade two students. The STAR method actually used arrange to mean make your pattern and regroup to mean put everything nice and tidy back in front of you. I shifted to using the terms to mean make sure everything is flat and not twisted and then make your pattern. It’s not that I think kids shouldn’t learn difficult vocabulary, but that the arbitrary vocabulary used to support learning should be a closer signifier to the process, since its purpose is to trigger the next step.

STAR Method                                                                   My Adaptation S.T.E.P (because we do it one step at a time)

  • S    Select                                                                S    Select
  • T   Travel                                                                T   Travel
  • A   Arrange                                                            E    Everything flat
  • R   Regroup                                                           P    Pattern

Shannon ______ said she would be able to bring in her Metis scarf to show the kids at the school. We tried to find a way to make that happen earlier, but it didn’t come to fruition. So this will be a really good way to authenticate the experience for the grade 2 classes at Queen Elizabeth Elementary.

Core Competencies

Anything to do with design is a fabulous way to help students figure out and progress in creative and critical thinking, personal and social responsibility and communication. My earlier reflection on my cardboard weaving shows that I was trying to move from a fixed mindset to a growth mindset

If I were teaching this lesson to children and wanted to focus on growth mindset, I would probably start with an “I can…” statement. For example, “I can explore ways to add different materials into cardboard weaving without worrying about making mistakes.” Then I would have the students reflect by deciding where they fit on this scale: “a bit like me” “quite like me” or “very much like me.”

After the exercise, they could reflect again and see if they had grown. This kind of goal setting fits under personal.

If I wanted to take an inquiry approach, I would pose an essential question. Maybe this one “How can I use cardboard weaving to explore ways to put different materials together to create a unified project?”

This activates their creative and critical thinking as they select materials, examine how they go together, ideate different designs and edit down to one that they think follows strong design principles. As a support person during the exploration, I can further the learning by doing mini lessons on things like design principles, but I expect some of them would have already figured it out during their exploration and so it would be much more relevant to them.

Other cool things

Digital math with weaving

https://theconversation.com/indigenous-basket-weaving-makes-an-excellent-digital-math-lesson-110094

 

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Multiple Points of View; One Home

Project #2 Textile Art as A Collaborative Act: EDCP 304,  Dr. Lorrie Miller
Artists: Stephanie Hawkins. Jennifer Johnson, Natalie Harustiak, Sarah Shinkewski

We began our collaborative journey with a discussion of what we have in common. One theme for this project was an individual interpretation of a shared home, in our case, British Columbia. We discovered that our home is a source of inspiration for each of us, in our own ways.  The beauty of the misty mountains of our west coast resonates deeply within us.  For us all, the colours and richness of our physical surroundings invoke a sense of tranquility and appreciation.

We drew inspiration for this collaborative project from the art experiment of Claude Monet and Pierre- Auguste Renoir.  In 1869, each artist painted the same scene side by side, en-plein-aire, for eight hours.  The result was two paintings similar in content but differing greatly in style and execution. Our piece is also in the tradition of quilt-making groups where members of the group take ownership over various quilt blocks which are then stitched together into one cohesive whole.

Initially, we found an image of west coast mountains that that spoke to all of us and divided it into nine squares.  Each of us took two squares (except for Natalie who generously offered to take three) and interpreted the image through the various textile techniques that we had learned in class. Our individual squares represent our own abilities, artistic sensibilities, and lived experiences.

We each have a story to tell about our squares…

Sarah: The fabric I used was taken from an old shirt and fabric I had dyed with cabbage juice.  I had made the fabric as an experiment in vegetable dyes. I have been drawn to this fabric because its colours and accidental patterns are so evocative of my beloved lower mainland landscape.

Stephanie: I chose to weave my squares of the BC landscape to emphasis the weaving together of perspectives in our collective project. I wove my squares using yarns of different shades of blue, weight and material to reflect the varied textures and richness of the landscape. I was determined to not purchase any new wool and instead mine my own collection for the weaving. I twisted colours together to suggest darker and lighter shades of blue.

Jennifer: My love for my mother and for my home inspired me to apply her traditional quilting techniques to the representation of our west coast landscape. Artistically, I find myself appropriating methods and ignoring boundaries. I use the ragged edge technique to create a cozy, yet prickly forest; I quilt a knit print onto cotton simply because it suggests landscape; and I use sloppy stitches to reference a gestural drawing approach. Thus, the subject is dynamic, alive, textural and homey.

Natalie: I chose to do a photo transfer process with my squares and attaching them to fabric in order to give the image stronger shape when putting it together with the collaborative squares. Originally I had wanted to transfer the images directly onto material and possibly wood, but I quickly realized that while the images themselves being reversed from the transfer process would not affect the beauty of the image, it would affect the fluidity of the collaborative art piece when placed all together. The finished result lends itself to the beauty of BC’s landscape seen through a glass window on a rainy day, which Vancouver is known for.

We’ve attached the squares together to create a single image, meshing four different interpretations of the same BC landscape.  We hope you take away with you a little piece of the love that we have for this place, our shared home.

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Naive Art

I am often surrounded by naïve art because I have young children. It feels very creative and uninhibited to me.

Teeny Tiny Lines, Marcus, age 3

Flower, Marcus, age 3

Quilt and Scribble, Naomi, age 7

 

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Ada Lovelace and the Loom of Life

I read about Ada Lovelace and put together some thoughts and notes.

Ada Lovelace was a brilliant mathematician. She wrote the first algorithm for Charles Babbage’s analytical engine and had the insight to realize it could be used for more than simple calculations.

In her article discussing Lovelace, Sadie Plant asserts that because women were the foundation of the textile industry, they provided the basis for the development of the computer. She draws attention to the contributions of Ada Lovelace-who wrote the algorithm for the proposed Analytical engine-and Grace Hopper-who created the first computer programming language.

She also points out the prejudice and misogyny that prevented the acknowledgement of these contributions as significant.

Freud’s fantasies about female penis envy exemplify the attitudes that Plant attributes to men at that time in general. While, not every man may have justified the social construction of women as less with sexually-based philosophy, it was generally accepted that women were, as a rule, weaker and less capable than men. Evidence from the chapter includes the classification of Lovelace as eccentric, wayward and hysterical. Evidence from outside the chapter includes the women who programmed ENIAC and were not recognized for their work. Software was not considered difficult and programming not prestigious, so women got to do it.

I felt confused by the way Plant associates women with the development of the technology that supports the textile industry.

  • Spindle and wheel -> basis for axle and wheel and rotations
  • Canvasses underlie art
  • Writing is inked onto a woven substrate

Women were the textile artists who were developing the styles and the techniques. I am unsure about crediting them with technological innovations. Did they invent the tech or did they provide the hands to use it? They were part of the motivation to create it, but so was the need for textiles. When I reflected with my friends, they helped me realize that the big inventions that history has attributed to men cannot be considered in isolation from all the small inventions or improvements that the people using the machines the most would have come up with. I still don’t know if I agree with Plant completely, but there is a case for her argument.

I made connections between the textile industry and global systems of economy. The cotton market created a new class of bourgeoisie: merchants and owners. The Industrial Revolution resulted from the knitting machine taking the work out of the individual producers’ hands. While everyone  used to make their own clothing, handmade products are more likely to be seen as indie art now.

 

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