The diploma thesis consists of a textile image (200x160cm) and an object (80x20cm) created by the author's method of melting and sintering a polyester fabric. In the digital version of the presentation, it gives the possibility of a detailed display and thus lets the viewer's view penetrate into the very structure of the work.

Univerzita Karlova Filozofická fakulta Ústav pro dějiny umění Diplomová práce Bc. Barbora Žižková Syntéza autorské a lidové textilní tvorby v ÚLUV Synthesis of artistic and folk textile production in ÚLUV 2019 vedoucí práce: prof. doc. PhDr. Marie Klimešová, Ph.D. Děkuji prof. doc. PhDr. Marii Klimešové, Ph.D. za odborné vedení mé diplomové práce, Mgr. Kláře Binderové, PhDr. Heleně Šenfeldové z Etnografického oddělení a PhDr. Haně Pařízkové z Archivu Národního muzea za vstřícný přístup, cenné tipy a konzultace. Děkuji své rodině a především mému muži za podporu a trpělivost. Prohlašuji, že jsem diplomovou práci vypracovala samostatně a výhradně s použitím citovaných pramenů a že práce nebyla využita v rámci jiného vysokoškolského studia či k získání jiného nebo stejného titulu. V Praze dne 10. 4. 2019 ……………………………. Barbora Žižková Abstract The main objective of my diploma work was to map the history and describe the forms of textile art in the Centre of Folk and Artistic Production (hereinafter referred to as CFAP). This artistic-craft discipline took two forms within the CFAP. The staff tried to find folk creators who maintained traditional techniques and motifs in their works of art, and those original folk creations were then used by textile artists to provide select craftspeople with new, tradition-...

Šiandieninėje kultūroje, dar vadinamoje vaizdų kultūra, labai svarbią vietą užima technologijos, kurios sparčiai įsilieja ir į meno procesus. Meno ir technologijų sąveikos bei kūrybiškos naujų technologijų panaudojimo galimybės aktyviai atsispindi kūrybiniuose procesuose, tad darbe aptariami tarpdisciplininiai kontekstai, sietini su šiuolaikine Lietuvos tekstile ir jos sąsajomis su videomeno formomis. Meninės tekstilės santykio su video raiška tema Lietuvoje iki šiol plačiau netyrinėta, nors pastaraisiais metais vis daugiau kūrėjų ieškodami įdomesnių ir išskirtinesnių raiškos būdų pasitelkia video raišką praktiniam kūrinio įgyvendinimui. Tad šiame darbe tarpdiscipliniškumas šiuolaikinėje tekstilėje apmąstomas iš praktinės perspektyvos, pabrėžiant jos santykį su video. Surinkti pavyzdžiai iliustruoja šiandienines tendencijas ir menininkų poreikį judančio vaizdo buvimui. Nagrinėjamos aktualios temos – kodėl tekstilės meno atstovai renkasi video raišką greta tekstilės ir ką duoda šių dviejų raiškų jungtis, kaip viena kitą papildo. Į kylančius klausimus bandoma atsakyti apžvelgiant ir analizuojant šiuolaikinės Lietuvos tekstilės meninį lauką bei bendraujant su pačiais kūrėjais. Susisteminti išsamūs interviu pateikiami prieduose. Tyrimo metu nustatyta, kad video atsiradimas šiuolaikinės Lietuvos tekstilės lauke leidžia kvestionuoti tekstilės kaip dailės šakos daugialypiškumą, bei pačios materijos kaip jungties su šiuolaikinėmis medijomis svarumą vaizdų kultūros plotmėje... [toliau žr. visą tekstą] / In contemporary culture, also called the culture of images, technology is playing a very important role as it is being rapidly involved in art processes. Interaction of arts with technology and the possibilities of involving new technologies in creating arts are actively reflected in creative processes, so in this work is discussed the interdisciplinary contexts, which are linked with contemporary Lithuanian textile and its relation with different form of video art. Even though during recent years many artists choose to use video resolution in order to present their work in a more interesting and unusual way, until now the relation between textile as a form of art and video usage was not thoroughly discussed in Lithuania. Therefore in this work the interdisciplinarity of contemporary textile is presented from the practical side while underlining its collaboration with video art. Gathered examples indicates modern trends and artists needs to have a moving images. Important topics are analyzed – why representatives of textile arts choose to use video usage next to textile and what is the purpose of this combination, how does it supplement each other. The raised question are being tried to answer while analyzing Lithuanian field of textile arts and while discussing with the artists themselves. Structured detailed interviews are attached in the appendix. The investigation has reveled that the appearance of video in the field of contemporary Lithuanian field of textile allows us... [to full text]

Šiandieninėje kultūroje, dar vadinamoje vaizdų kultūra, labai svarbią vietą užima technologijos, kurios sparčiai įsilieja ir į meno procesus. Meno ir technologijų sąveikos bei kūrybiškos naujų technologijų panaudojimo galimybės aktyviai atsispindi kūrybiniuose procesuose, tad darbe aptariami tarpdisciplininiai kontekstai, sietini su šiuolaikine Lietuvos tekstile ir jos sąsajomis su videomeno formomis. Meninės tekstilės santykio su video raiška tema Lietuvoje iki šiol plačiau netyrinėta, nors pastaraisiais metais vis daugiau kūrėjų ieškodami įdomesnių ir išskirtinesnių raiškos būdų pasitelkia video raišką praktiniam kūrinio įgyvendinimui. Tad šiame darbe tarpdiscipliniškumas šiuolaikinėje tekstilėje apmąstomas iš praktinės perspektyvos, pabrėžiant jos santykį su video. Surinkti pavyzdžiai iliustruoja šiandienines tendencijas ir menininkų poreikį judančio vaizdo buvimui. Nagrinėjamos aktualios temos – kodėl tekstilės meno atstovai renkasi video raišką greta tekstilės ir ką duoda šių dviejų raiškų jungtis, kaip viena kitą papildo. Į kylančius klausimus bandoma atsakyti apžvelgiant ir analizuojant šiuolaikinės Lietuvos tekstilės meninį lauką bei bendraujant su pačiais kūrėjais. Susisteminti išsamūs interviu pateikiami prieduose. Tyrimo metu nustatyta, kad video atsiradimas šiuolaikinės Lietuvos tekstilės lauke leidžia kvestionuoti tekstilės kaip dailės šakos daugialypiškumą, bei pačios materijos kaip jungties su šiuolaikinėmis medijomis svarumą vaizdų kultūros plotmėje... [toliau žr. visą tekstą] / In contemporary culture, also called the culture of images, technology is playing a very important role as it is being rapidly involved in art processes. Interaction of arts with technology and the possibilities of involving new technologies in creating arts are actively reflected in creative processes, so in this work is discussed the interdisciplinary contexts, which are linked with contemporary Lithuanian textile and its relation with different form of video art. Even though during recent years many artists choose to use video resolution in order to present their work in a more interesting and unusual way, until now the relation between textile as a form of art and video usage was not thoroughly discussed in Lithuania. Therefore in this work the interdisciplinarity of contemporary textile is presented from the practical side while underlining its collaboration with video art. Gathered examples indicates modern trends and artists needs to have a moving images. Important topics are analyzed – why representatives of textile arts choose to use video usage next to textile and what is the purpose of this combination, how does it supplement each other. The raised question are being tried to answer while analyzing Lithuanian field of textile arts and while discussing with the artists themselves. Structured detailed interviews are attached in the appendix. The investigation has reveled that the appearance of video in the field of contemporary Lithuanian field of textile allows us... [to full text]

This practice-based art and design project explores the potential use of contemporary materials and techniques in relation to extending aesthetic and structural possibilities of embroidery, with a focus on developing textile formations through the medium of ‘free stitch’ machine embroidery. Embroidery is often perceived by the non-enthusiast as a ‘granny craft’: an ‘old’ technique. Contemporary representations of embroidery suggest that new and innovative interpretations exist. Through investigation and experimentation with products, textiles and techniques, the embroidered artefacts that I have crafted are intended to disrupt the conventional perceptions of embroidery by alluding to conceptual associations of tradition and nostalgia. The aim of this project is to promote embroidery as a diverse medium; its use as a means of narrative, a valued skill that spans both art and craft disciplines, and to lift the status of craft by encouraging discourse of craft practice within an academic environment.

The artist, Laura Ann Schroeder, discusses her Master of Fine Arts thesis exhibition, Witness, Revival, Testimony, which was installed at Tipton Gallery in Johnson City, TN from March 2, 2023 through March 31, 2023, with a public reception held on March 24, 2023. The exhibition consisted of a collection of sculptural works and installations that evoke scenes and memories from the artist’s childhood. This body of work deconstructs the traditional family dynamic and the private domestic space through recreations of everyday life. The artworks are primarily made with repurposed consumer textiles and techniques like stitching and quilting that have historically been considered “women’s work.” Through the process of creating this body of work, the artist analyzes how past moments culminate to affect her understanding of gender, spirituality, and personal identity.

The first part of the thesis has the character of an exploratory probe, which is looking for the form and situation of textile art at present. It is based mainly interviews of experts in the field of textile art and experiences of the visited exhibitions. Part of this thesis is also personal creation, based on textile experiments. From these findings there was created a pivotal part in the form of a didactic project, inspired in particular by the creation of Sheila Hicks. Results and benefits of the work is to outline the current situation of textile art in our country and verified in a practical set of teaching practices focused mainly on the development of sensory sensitivity. The didactic methods are supplemented by reflections and extending or innovate variant sof lesson plans in Art Education.

BODY ANAGRAM is a number of hand stitched sculptures, a growing collection of mountable body parts that can be organized and screwed together in different ways. The process of stitching and sculpting bodies is metaphorically compared to the art of anagrams, wordplays. Their common reversibility between recognition and destruction is discussed. Psychological perspectives on intersubjective, as well as subject-object relationships are used to explain what can happen when people and sculptures meet. How can common emotional experiences of relationships be embodied through human-like textile sculptures? This question is processed in video documentations of people interacting with the sewn body parts. These meetings as well as collaborations around the making of the film, “Your hands and their hands”, are explored further in this paper.

Through manipulation of the materials and creation of sculptural forms, the knowledge in textile design was used to develop alternative methods for working with materials of animal origin. The project touches the issue of consumption by accentuating the fascinating features of animal materials and proposes a way of taking care of materials looked upon as disposals. It questions how we value what resources we have in our surroundings and how we use them. Or more important – how we are not using them.

Repetition is part of our everyday lives: it is all around us, in patterns, art, and habits like having a cup of tea or getting dressed each morning. Repetition, recurrence, and return are also fundamental in nature – there are shifts in the seasons and regular, rhythmic elements, such as the weather, that occur over and over again. In order to repeat you have to remember what you did last time, and memories are intimate and can be associated with personal relationships with objects or clothes; they are not written down but preserved in memories of lived events, which over time become mythologised. In fashion, repetition is linked to imitation: we see how our friends, partners, and people on social media are dressed, and we want to look the same. This has created endless loops of trends, wherein we constantly strive for the new. When we consciously repeat or return there is the possibility to pay attention to our behaviour in relation to consumption and how we spend our time, wear our clothes, and relate to the natural world. This thesis has taken me on a journey which started with the world of repetition, where memories, habits, and nature are visited and revisited. The journey progressed through five destinations/projects at a slow pace: at each, textile art, craft and fashion were explored. Repetition, recurrence, and return were used as methods to explore time and timing in textile making with a focus on the tension and duality between the making and the made.