Patchwork Object

Items

• Patch by Unrecorded Maker(s)
  This patch was made during the "Patchwork and Creativity Workshop", held in Cambridge, UK on 19 and 20 September, 2024. This two-day workshop used the theme of “Patchwork and Creativity” to prompt conversations about modes of being and knowing that emphasise the collaborative, the collective, the non-linear, and the potentially deconstructive or resistant forms of creativity that have not historically been privileged by Western art histories. During this workshop, participants were invited to co-create patches with one another. Participants were given access to pre-cut material and art supplies and a brief introduction to the Patchwork Object Project. They were then invited to mark the patch in any way that they felt inspired to. At three points during the workshop, participants swapped patches and continued working on patches worked on by others. Afterwards, participants were invited to identify which patches they contributed to; some participants chose to do this, some participants chose to remain an 'unrecorded maker'. We chose to use the term ‘unrecorded maker’, rather than the more common ‘anonymous’ or ‘maker unknown’ following discussion during the workshop around the fact that many women’s contributions to art and craft work, particularly work that was collaboratively made, was not unknown in its time, just not acknowledged or recorded by history.
• Patch by Unrecorded Maker(s)
  This patch was made during the "Patchwork and Creativity Workshop", held in Cambridge, UK on 19 and 20 September, 2024. This two-day workshop used the theme of “Patchwork and Creativity” to prompt conversations about modes of being and knowing that emphasise the collaborative, the collective, the non-linear, and the potentially deconstructive or resistant forms of creativity that have not historically been privileged by Western art histories. During this workshop, participants were invited to co-create patches with one another. Participants were given access to pre-cut material and art supplies and a brief introduction to the Patchwork Object Project. They were then invited to mark the patch in any way that they felt inspired to. At three points during the workshop, participants swapped patches and continued working on patches worked on by others. Afterwards, participants were invited to identify which patches they contributed to; some participants chose to do this, some participants chose to remain an 'unrecorded maker'. We chose to use the term ‘unrecorded maker’, rather than the more common ‘anonymous’ or ‘maker unknown’ following discussion during the workshop around the fact that many women’s contributions to art and craft work, particularly work that was collaboratively made, was not unknown in its time, just not acknowledged or recorded by history.
• Patch by Unrecorded Maker(s)
  This patch was made during the "Patchwork and Authorship Workshop", held at the University of Exeter's Digital Humanities Lab on 3 May, 2024. In celebration of the digital launch of "The Busy Bee", we hosted a one-day workshop on Friday 3rd May that provided a space for scholars working on tangent projects to come together and share thinking, coalesce perspectives, and foment new lines of enquiry. We shared research and participated in a collaborative making activity inspired by "The Busy Bee". During the day, participants were also invited to make patches that responded to either the theme of the Patchwork Object Project, "women's creative identities", or themes that emerged during the workshop. Participants were given pre-cut material and access to a range of different art supplies.
• Patch by Unrecorded Maker(s)
  This patch was made during the "Patchwork and Authorship Workshop", held at the University of Exeter's Digital Humanities Lab on 3 May, 2024. In celebration of the digital launch of "The Busy Bee", we hosted a one-day workshop on Friday 3rd May that provided a space for scholars working on tangent projects to come together and share thinking, coalesce perspectives, and foment new lines of enquiry. We shared research and participated in a collaborative making activity inspired by "The Busy Bee". During the day, participants were also invited to make patches that responded to either the theme of the Patchwork Object Project, "women's creative identities", or themes that emerged during the workshop. Participants were given pre-cut material and access to a range of different art supplies.
• Patch by Unrecorded Maker(s)
  This patch was made during the "Patchwork and Authorship Workshop", held at the University of Exeter's Digital Humanities Lab on 3 May, 2024. In celebration of the digital launch of "The Busy Bee", we hosted a one-day workshop on Friday 3rd May that provided a space for scholars working on tangent projects to come together and share thinking, coalesce perspectives, and foment new lines of enquiry. We shared research and participated in a collaborative making activity inspired by "The Busy Bee". During the day, participants were also invited to make patches that responded to either the theme of the Patchwork Object Project, "women's creative identities", or themes that emerged during the workshop. Participants were given pre-cut material and access to a range of different art supplies.
• Patch by Unrecorded Maker(s)
  This patch was made during the "Patchwork and Authorship Workshop", held at the University of Exeter's Digital Humanities Lab on 3 May, 2024. In celebration of the digital launch of "The Busy Bee", we hosted a one-day workshop on Friday 3rd May that provided a space for scholars working on tangent projects to come together and share thinking, coalesce perspectives, and foment new lines of enquiry. We shared research and participated in a collaborative making activity inspired by "The Busy Bee". During the day, participants were also invited to make patches that responded to either the theme of the Patchwork Object Project, "women's creative identities", or themes that emerged during the workshop. Participants were given pre-cut material and access to a range of different art supplies.
• Patch by Unrecorded Maker(s)
  This patch was made during the "Patchwork and Authorship Workshop", held at the University of Exeter's Digital Humanities Lab on 3 May, 2024. In celebration of the digital launch of "The Busy Bee", we hosted a one-day workshop on Friday 3rd May that provided a space for scholars working on tangent projects to come together and share thinking, coalesce perspectives, and foment new lines of enquiry. We shared research and participated in a collaborative making activity inspired by "The Busy Bee". During the day, participants were also invited to make patches that responded to either the theme of the Patchwork Object Project, "women's creative identities", or themes that emerged during the workshop. Participants were given pre-cut material and access to a range of different art supplies.
• Patch by Unrecorded Maker(s)
  This patch was made during the "Patchwork and Authorship Workshop", held at the University of Exeter's Digital Humanities Lab on 3 May, 2024. In celebration of the digital launch of "The Busy Bee", we hosted a one-day workshop on Friday 3rd May that provided a space for scholars working on tangent projects to come together and share thinking, coalesce perspectives, and foment new lines of enquiry. We shared research and participated in a collaborative making activity inspired by "The Busy Bee". During the day, participants were also invited to make patches that responded to either the theme of the Patchwork Object Project, "women's creative identities", or themes that emerged during the workshop. Participants were given pre-cut material and access to a range of different art supplies.
• Patch by Unrecorded Maker(s)
  This patch was made during the "Patchwork and Authorship Workshop", held at the University of Exeter's Digital Humanities Lab on 3 May, 2024. In celebration of the digital launch of "The Busy Bee", we hosted a one-day workshop on Friday 3rd May that provided a space for scholars working on tangent projects to come together and share thinking, coalesce perspectives, and foment new lines of enquiry. We shared research and participated in a collaborative making activity inspired by "The Busy Bee". During the day, participants were also invited to make patches that responded to either the theme of the Patchwork Object Project, "women's creative identities", or themes that emerged during the workshop. Participants were given pre-cut material and access to a range of different art supplies.
• Patch by Unrecorded Maker(s)
  This patch was made during the "Patchwork and Authorship Workshop", held at the University of Exeter's Digital Humanities Lab on 3 May, 2024. In celebration of the digital launch of "The Busy Bee", we hosted a one-day workshop on Friday 3rd May that provided a space for scholars working on tangent projects to come together and share thinking, coalesce perspectives, and foment new lines of enquiry. We shared research and participated in a collaborative making activity inspired by "The Busy Bee". During the day, participants were also invited to make patches that responded to either the theme of the Patchwork Object Project, "women's creative identities", or themes that emerged during the workshop. Participants were given pre-cut material and access to a range of different art supplies.
• Patch by Unrecorded Maker(s)
  This patch was made during the "Patchwork and Authorship Workshop", held at the University of Exeter's Digital Humanities Lab on 3 May, 2024. In celebration of the digital launch of "The Busy Bee", we hosted a one-day workshop on Friday 3rd May that provided a space for scholars working on tangent projects to come together and share thinking, coalesce perspectives, and foment new lines of enquiry. We shared research and participated in a collaborative making activity inspired by "The Busy Bee". During the day, participants were also invited to make patches that responded to either the theme of the Patchwork Object Project, "women's creative identities", or themes that emerged during the workshop. Participants were given pre-cut material and access to a range of different art supplies.
• Patch by Unrecorded Maker(s)
  This patch was made during the "Patchwork and Authorship Workshop", held at the University of Exeter's Digital Humanities Lab on 3 May, 2024. In celebration of the digital launch of "The Busy Bee", we hosted a one-day workshop on Friday 3rd May that provided a space for scholars working on tangent projects to come together and share thinking, coalesce perspectives, and foment new lines of enquiry. We shared research and participated in a collaborative making activity inspired by "The Busy Bee". During the day, participants were also invited to make patches that responded to either the theme of the Patchwork Object Project, "women's creative identities", or themes that emerged during the workshop. Participants were given pre-cut material and access to a range of different art supplies.
• Patch by Unrecorded Maker(s)
  This patch was made during the "Patchwork and Authorship Workshop", held at the University of Exeter's Digital Humanities Lab on 3 May, 2024. In celebration of the digital launch of "The Busy Bee", we hosted a one-day workshop on Friday 3rd May that provided a space for scholars working on tangent projects to come together and share thinking, coalesce perspectives, and foment new lines of enquiry. We shared research and participated in a collaborative making activity inspired by "The Busy Bee". During the day, participants were also invited to make patches that responded to either the theme of the Patchwork Object Project, "women's creative identities", or themes that emerged during the workshop. Participants were given pre-cut material and access to a range of different art supplies.
• Patch by Unrecorded Maker(s)
  This patch was made during the "Patchwork and Authorship Workshop", held at the University of Exeter's Digital Humanities Lab on 3 May, 2024. In celebration of the digital launch of "The Busy Bee", we hosted a one-day workshop on Friday 3rd May that provided a space for scholars working on tangent projects to come together and share thinking, coalesce perspectives, and foment new lines of enquiry. We shared research and participated in a collaborative making activity inspired by "The Busy Bee". During the day, participants were also invited to make patches that responded to either the theme of the Patchwork Object Project, "women's creative identities", or themes that emerged during the workshop. Participants were given pre-cut material and access to a range of different art supplies.
• Patch by Unrecorded Maker(s)
  This patch was made during the "Patchwork and Creativity Workshop", held in Cambridge, UK on 19 and 20 September, 2024. This two-day workshop used the theme of “Patchwork and Creativity” to prompt conversations about modes of being and knowing that emphasise the collaborative, the collective, the non-linear, and the potentially deconstructive or resistant forms of creativity that have not historically been privileged by Western art histories. During this workshop, participants were invited to co-create patches with one another. Participants were given access to pre-cut material and art supplies and a brief introduction to the Patchwork Object Project. They were then invited to mark the patch in any way that they felt inspired to. At three points during the workshop, participants swapped patches and continued working on patches worked on by others. Afterwards, participants were invited to identify which patches they contributed to; some participants chose to do this, some participants chose to remain an 'unrecorded maker'. We chose to use the term ‘unrecorded maker’, rather than the more common ‘anonymous’ or ‘maker unknown’ following discussion during the workshop around the fact that many women’s contributions to art and craft work, particularly work that was collaboratively made, was not unknown in its time, just not acknowledged or recorded by history.
• Patch by Unrecorded Maker(s)
  This patch was made during the "Patchwork and Creativity Workshop", held in Cambridge, UK on 19 and 20 September, 2024. This two-day workshop used the theme of “Patchwork and Creativity” to prompt conversations about modes of being and knowing that emphasise the collaborative, the collective, the non-linear, and the potentially deconstructive or resistant forms of creativity that have not historically been privileged by Western art histories. During this workshop, participants were invited to co-create patches with one another. Participants were given access to pre-cut material and art supplies and a brief introduction to the Patchwork Object Project. They were then invited to mark the patch in any way that they felt inspired to. At three points during the workshop, participants swapped patches and continued working on patches worked on by others. Afterwards, participants were invited to identify which patches they contributed to; some participants chose to do this, some participants chose to remain an 'unrecorded maker'. We chose to use the term ‘unrecorded maker’, rather than the more common ‘anonymous’ or ‘maker unknown’ following discussion during the workshop around the fact that many women’s contributions to art and craft work, particularly work that was collaboratively made, was not unknown in its time, just not acknowledged or recorded by history.
• Patch by Unrecorded Maker(s)
  This patch was made during the "Patchwork and Creativity Workshop", held in Cambridge, UK on 19 and 20 September, 2024. This two-day workshop used the theme of “Patchwork and Creativity” to prompt conversations about modes of being and knowing that emphasise the collaborative, the collective, the non-linear, and the potentially deconstructive or resistant forms of creativity that have not historically been privileged by Western art histories. During this workshop, participants were invited to co-create patches with one another. Participants were given access to pre-cut material and art supplies and a brief introduction to the Patchwork Object Project. They were then invited to mark the patch in any way that they felt inspired to. At three points during the workshop, participants swapped patches and continued working on patches worked on by others. Afterwards, participants were invited to identify which patches they contributed to; some participants chose to do this, some participants chose to remain an 'unrecorded maker'. We chose to use the term ‘unrecorded maker’, rather than the more common ‘anonymous’ or ‘maker unknown’ following discussion during the workshop around the fact that many women’s contributions to art and craft work, particularly work that was collaboratively made, was not unknown in its time, just not acknowledged or recorded by history.
• Patch by Unrecorded Maker(s)
  This patch was made during the "Patchwork and Creativity Workshop", held in Cambridge, UK on 19 and 20 September, 2024. This two-day workshop used the theme of “Patchwork and Creativity” to prompt conversations about modes of being and knowing that emphasise the collaborative, the collective, the non-linear, and the potentially deconstructive or resistant forms of creativity that have not historically been privileged by Western art histories. During this workshop, participants were invited to co-create patches with one another. Participants were given access to pre-cut material and art supplies and a brief introduction to the Patchwork Object Project. They were then invited to mark the patch in any way that they felt inspired to. At three points during the workshop, participants swapped patches and continued working on patches worked on by others. Afterwards, participants were invited to identify which patches they contributed to; some participants chose to do this, some participants chose to remain an 'unrecorded maker'. We chose to use the term ‘unrecorded maker’, rather than the more common ‘anonymous’ or ‘maker unknown’ following discussion during the workshop around the fact that many women’s contributions to art and craft work, particularly work that was collaboratively made, was not unknown in its time, just not acknowledged or recorded by history.
• Patch by Unrecorded Maker(s)
  This patch was made during the "Community Making Day", held at MAKE Southwest in Bovey Tracey, UK on 26 June, 2024. This event was run in collaboration with MAKE Southwest's monthly drop-in session, Weave Wednesday, hosted at MAKE Southwest's Riverside Mill and facilitated by Maker Member and Textiles Artist, Jane. During the event, participants were introduced to "The Art of Fiction" and the Patchwork Object Project. Jane led a workshop on indigo dying and participants experimented with this technique in the context of patch making. Patches and dye were supplied to participants along with MAKE Southwest's art making supply stash; participants were also encouraged to bring their own supplies. After this event, the Project PI returned to Weave Wednesday on several occasions to continue making with the group and to support their contributions to the Patchwork Object Project.
• Patch by Unrecorded Maker(s)
  This patch was made during the "Community Making Day", held at MAKE Southwest in Bovey Tracey, UK on 26 June, 2024. This event was run in collaboration with MAKE Southwest's monthly drop-in session, Weave Wednesday, hosted at MAKE Southwest's Riverside Mill and facilitated by Maker Member and Textiles Artist, Jane. During the event, participants were introduced to "The Art of Fiction" and the Patchwork Object Project. Jane led a workshop on indigo dying and participants experimented with this technique in the context of patch making. Patches and dye were supplied to participants along with MAKE Southwest's art making supply stash; participants were also encouraged to bring their own supplies. After this event, the Project PI returned to Weave Wednesday on several occasions to continue making with the group and to support their contributions to the Patchwork Object Project.
• Patch by Wendy
  Each stitch is a story Every thread is a truth How do we wear our promises Like life, from the roots. The tools we may choose A design may grow What may be revealed From this small seed sown? I make - to use my hands I make - to feel alive I make - because I can not Leave it undone What I may learn from doing Or how this might change my thinking I'll only know when I'm finished Sending this square on a flying journey. - As my mother lies dying in her hospice bed I stitch these flowers in memory of her seamstress skill an identity upheld through necessity. I dig into my art supplies. Blue cotton from my sons discarded bag, representing the clear blue Central Australian skies. Sandy coloured thread for these flowers and bright seeds to center the design. Freehand machine embroidery creates a gentle garden bed and mimicking the multitude of repairs of my clothes growing up. It's joyful and a privilege to participate in this project, sending these flowers flying across the globe to join others in expressing their creative identity.
• SPRING IN MY GARDEN
  SPRING IN MY GARDEN My maternal grandmother, Nani, was unquestionably an institution in her own right. Her ability to skillfully manage an entire household, while maintaining meaningful relationships with friends and family is something I can only aspire towards. She was an incredible chef; an impeccable dressmaker for all her loved ones; an exquisite crocheter and knitter; an amazing sitar player; a strategic budgeteer for she was never not present for any occasion (happy or tragic).... and the list goes on. However, amongst all her innumerable talents the one closest to her heart, was her skill for gardening. She was truly gifted.* Her garden was in perpetual spring. Not because of the weather - as we had all four seasons - but due to Nani’s ability to maintain it that way. She loved gardening. My siblings and I have been extremely fortunate to have spent our childhood years in her garden. The immaculate flower beds were not only arranged in terms of colour and flower size, but also according to height - ensuring unhindered visibility of every flower. Beyond doubt it was magical and standing within it felt ethereal. It was a live painting that we were a part of, and experienced every day!* The flowers on this patchwork are taken from scraps of clothing belonging to women across four generations - my grandma, my mother, my sister and I, and my daughter. This collage of flowers pays homage to the garden that gave us life and nourished our creative pursuits. It is also a celebration of generational creativity. *An excerpt: The first two paragraphs are from a previously written piece for a quilting project that I made in memory of my grandmother.
• The Paisley shawl
  The Paisley shawl This fine printed wool fabric is, I believe, part of a Paisley shawl probably made in 19th century Scotland. Such shawls, inspired by Indian patterns, were popular until the 1870s when they went out of fashion. This one may have belonged to my great-grandmother. Someone, perhaps my mother or grandmother, later made it into a skirt, which, faded, motheaten and darned, found its way into my childhood dressing-up box. Other pieces of the same fabric were in my mother's drawer full of scrap materials, and show by comparison how much the skirt had faded, especially the green dye. It must have been much loved and worn. I would have liked to wear it too, and attempted some more repairs, but eventually had to admit defeat; there was too much moth damage. But I kept it; I never throw away any fabrics, even tiny scraps. I now live on Dartmoor and make art in various media, based on observations of the landscape. From oil pastel sketches done outdoors on coloured paper I have developed some textile pieces using applique and embroidery. The old paisley fabric, with its rich but subtle colours and fern-like patterns, proved perfect for evoking the effect of rain-soaked dead bracken in autumn and winter. In my family, sewing skills have been passed down the female line, along with fabrics, buttons, lace and threads. I have a daughter-in-law and a granddaughter who like to sew creatively, so I hope they may find a use for some of the stuff I leave behind. Fabrics can link generations and go through the metamorphoses of different uses. They are patient, and can lie in a drawer for many years until suddenly they are just what you want.
• The Patchwork Quilt Kit
  The Patchwork Quilt Kit When I was a child my mother had a large drawer full of fabric scraps: offcuts from sewing projects, outgrown and worn out garments. I loved rummaging through the drawer, finding bits which my mother would help me make into dolls' clothes, teaching me to sew in the process. When I was about twelve I got more ambitious, and decided to make my parents a patchwork quilt for Christmas. I raided the drawer and cut out a lot of hexagons from assorted fabrics, spread them out on the floor and planned a pattern. I told my school sewing teacher about my project, and she explained how I would have to tack all the hexagons onto paper and sew them together by hand. Clearly that would take years! I listened politely, but had no intention of doing it like that; I was sure I could make the quilt much quicker on our old Singer sewing machine. But having stitched together the first row of hexagons I ran out of time, and presented my parents with a 'Do-it-yourself Patchwork Quilt Kit' for Christmas, arranged in a box with my design and instructions. They recieved it graciously, but somehow it never got made, and I still have the hexagons. This piece is made from some of them (the original hexagons were much bigger). For me this works as a time capsule, as I know that all these fabrics were in my mother's drawer in the mid 1960s. Many of them I remember as dresses worn by myself or my mother. I used paper hexagons cut from old letters, with the handwriting of my mother, grandmother, brother, friends and relations. Antique patchwork quilts often include pieces of old letters; paper was a valuable resource, not to be wasted. I used thread from old wooden cotton reels, and have deliberately left in the tacking. My parents always encouraged me to be creative; homemade gifts were always valued, even if incomplete (I once gave my father a single slipper!) In our family making, mending and recycling were a way of life.