This paper describes my work with a historical craft and my attempt to find new ways to look at it, work with it and present it. I use the embroidery technique Hardangersaum which is all white, and where selected threads of the woven fabric grid are removed while others are wrapped and embellished. The artistic research leans heavily on the traditional craft but tries to isolate it from its historical baggage. I turn my focus to the grid of the fabric and I present some viewpoints from Rosalind Krauss and Hannah B. Higgins. I describe questions of scale and presentation that have emerged and show how digital animation has played a major role in the development and the communication of the embroidery work.

[pt] Os processos eletrônicos alteram os conceitos básicos do fazer artesanal e, portanto, o conceito de bordado também se altera. Diante dessa ruptura, surge a justificativa desse trabalho: a análise dos bordados, sejam manuais ou eletrônicos. Este trabalho busca investigar o bordado para debater as transformações ocorridas ao longo do tempo, incluindo a utilização de novas tecnologias, examinando se é coerente dizer que as máquinas eletrônicas bordam. A metodologia aplicada inclui diferentes etapas, iniciando pela checagem dos temas e dos contextos relacionados para examinar o bordado, aferindo os seus diferentes processos de produção: o trabalho manual e o sistema eletrônico. A pesquisa também tem por base uma revisão teórica dos conceitos apresentados. A discussão a respeito da evolução do artesanato no Brasil conduz o olhar para a nossa prática, ilustrando o debate com o trabalho realizado na Cooperativa de Trabalho Artesanal e de Costura da Rocinha Ltda - até recentemente reconhecida como COOPA-ROCA. A experiência aprofunda a reflexão a respeito de uma cultura metodológica relacionada ao bordado manual, elucidando o papel do consumidor. / [en] Electronic processes change the basic concepts of making crafts, and therefore the concept of embroidery also changes. Faced with this disruption, the justification of this work emerge: the analysis of the embroideries, either manual or electronic. This work seeks to investigate the embroidery to discuss the transformations that occurred over time, including the use of new technologies, examining whether it is coherent to say that the electronic machines does embroideries. The methodology was organized in different stages, starting with the checking of the topics and related contexts to examine the embroidery, assessing their different production processes: the manual work and the electronic system. The research is also based on a theoretical revision of the presented concepts. The discussion about the evolution of handicrafts in Brazil leads to a look at our practice, illustrating the debate with the work carried out at the Cooperativa de Trabalho Artesanal e de Costura da Rocinha Ltda - until lately recognized as COOPA-ROCA. The experience deepens the reflection about a methodological culture for the manual embroidery, elucidating the role of the consumer.

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Traumatic rupture of the anterior cruciate ligament (ACL) can cause local destabilization and loss of mobility. Reconstruction using engineered ACL grafts is rarely successful due to sub-optimal material choice and mechanical performance. Thus, the presented work demonstrates the fabrication of various embroidered single- and bi-component scaffolds made of two commercially available monofilament threads (polydioxanone, poly(lactic acid-co-ɛ- caprolactone)) as well as a novel melt spun poly(L-lactic acid) multifilament and their mechanical analysis by tensile tests and under cyclic loading. Selected scaffolds, adjusted by material composition and textile parameters, revealed a load–strain behavior comparable to native lapin ACL tissue exhibiting a sufficient amount of elastic deformation within the toe-region of 1.7%, scaffold stiffness of 123 N/mm and adequate maximum tensile load (300 N) and strain (20%). Therefore, the design of resorbable embroidered bi-component scaffolds represents a promising approach to replace artificial non-resorbable ligament grafts and allows for innovative tissue engineering strategies.

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No description available.

A written thesis to accompany the M.F.A. Exhibition Mending What’s Invisible, in which the artist’s personal experiences and memories explore the cultural identities and femininity in Korea and the US. These identities are explored by using traditional Korean motifs, embroidery patterns, and the visual images of the artist's childhood photographs in the projects of “Reconnecting of Nostalgia” and “Mutating”. Also the visual clips of the artist's hometown is demonstrated in the video project “Things I hated” that discusses criticalities of Korean cultures and a sense of nostalgia for childhood in Korea. The project comes out of a personal need to connect the artists' different identities but also wants to create an awareness of the conflict between different cultural understandings of Korea and the US.

Under projektet ”Att brodera är ett verb –Betraktelser ur ett nålsöga” har jag använt applikationsbroderi som teknik för att transformera och bearbeta material från min omgivning. Jag har sorterat alla material efter färgcirkeln och skapat rutor som jag satt ihop till ett abstraherat lapptäcke. Arbetet har syftat till att undersöka processbaserat görande och jag har därför tagit hjälp av verben i konstnären Richard Serras ”Verb list”. Jag har satt upp fyra regler för mig själv att förhålla mig till under arbetets gång. Med reglerna har jag velat eliminera alla val och processer som inte handlar om själva görandet i sig. Lapptäcket har tagit sin slutliga form utifrån det ramverk som reglerna utgjort. Under min opponering diskuterade jag och opponenten Karin Lundgren-Tallinger främst hur jag har förhållit mig till mina regler under arbetets gång och hur de hade kunnat vara tydligare. Till Konstfacks Vårutställning hängde jag upp lapptäcket på en ställning av skrot i ett hörn och spred ut vissa rutor och andra obearbetade material så som skräp och garner i flera delar av rummet. Installationen av verket gjorde jag för att skapa en känsla av att arbetet med rutorna när som helst skulle kunna återupptas och görandet forsätta.

La thèse traite du catholicisme en Basse-Bretagne, du début du 19è siècle à nos jours, à travers l'étude des bannières de procession présentes dans les églises du diocèse de Quimper et Léon , soit le département du Finistère. Les quatre parties s'organisent autour de la production des bannières, de leur comptage à partir des différents types d'inventaires disponibles, des piétés qu'elles mettent en évidence, voire des évolutions sociales dont elles témoignent.L'approche est quantitative et qualitative. Cela implique une visite systématique des églises et la conservation de traces photographiques de toutes leurs bannières. Il est fait appel aux sources classiques que sont les rapports des visites canoniques et à d'autres qui le sont moins, comme les inventaires de 1906.L'étude de la vie de deux paroisses, un doyenné datant du concordat et une anciennne ville épiscopale, a permis de mettre en évidence les mobiles générateurs de l'acquisition de bannières. Si les bannières paroissiales sont de règle, les bannières de congrégations témoignent du dynamisme des groupes de piété et de leur évolution au fil des siècles.Des approches quantitatives permettent de proposer une hypothèse de riposte, par bannières interposées, à la politique des lois laïques, parallèlement aux évolutions sociales.Si l'iconographie montre une influence lointaine des arts, c'est surtout l'importance du négoce qui apparaît, laissant cependant des possibilités d'expression d'une créativité, voire d'une spiritualité différente. Le chapitre final est consacré aux bannières réalisées à l'occasion de la Mission 2012. / This thesis is about catholicism in Lower Brittany through the study of processional banners from the beginning of the 19th century to our days. These were found in tthe churches of the diocese of Quimper and Leon , in the french county of Finistere. The thesis is divided into four parts : the production of banners, their counting from the various types of available inventories, devotion which they highlight, even social evolution of which testify.The approach is quantitative and qualitative. It involves a systematic visit of churches and the conservation of a photographic record of all their banners. Classic sources are used such as the reportsof the canonical visits, and others vho are less so the inventories of 1906.The study of the life of two parishes, a deanship dating from the concordat and a former episcopal city, allowed to highlight the generative motives of the acquisition of banners. If parochial banners are the norm, the banners of congregations reflect the dynamism of the groups of devotion and their evolution in the course of the centuries.Quantitative approaches allow to propose a hypothesis of reponse to the policy of the Laic laws by interposed banners, in parallel to social evolutions. If the iconography shows a distant influence of the arts, it is especially the importance of trade that appears. However it leaves possibilities of expression for a different creativity and even for a different spirituality. The last chapters concerrn the revival starting from the seond third of the 20th century. The last chapter is dedicated to the banners made for the Mission 2012.

The aim of this work is to explore the joining of inspiration, such as different garments and materials, in relation to commonly used methods in the fashion industry when it comes to joining of different trends and references such as clashing and collaging. The work proposes a new method and framework for join- ing inspiration which generates different results depending on what kind of inspiration that is put in to it. A garment can roughly be broken down to a silhouette and shape, materials and details. The material put in to the method and framework is based on information from trend seminars for SS16, because that is how many of today’s trend-oriented fashion brands get there inspiration. Trendy garment silhouettes are mixed through processes of computational morphing in Adobe Flash by a generation of spin in the mixing process were shape hints are used in a new manner. The new generated silhouettes are further developed and materialized through procedures of interpretation and figuration. Different trendy materials are melded in a direct and concrete way through mixed media techniques such as laminating, fusing and vacuum-techniques. The final steps of the method is a garment shape and material synthesis with starting point in the generated shape with the final material. The projects intention is to let the physical experimentation, interpretation and figuration play a central role in the research process for new types of methods, garments, materials and expressive pos- sibilities.