I started to think of the previous units and pic up the project that were most interesting from my personal perspective, I realized therefore that It is all about sustainability of craftsmanship.
Many artists were important to the growth of contemporary basketry, each has developed his own way, trying to push the limits of strictly defined baskets and venturing into the art world. By investigating the material in a boarder way, they reflect their culture, awaking the senses in transforming a 2d object into a 3D, pleasing the eye and challenging the imagination. Presented here is part of the initial research I found interesting to look at.
Simple but elegant, they represent the trend I mentioned previously. The also kept the materiality and changed their functionality, by that they changed the product to implement a new market. And that led me to think of what I aim to do exactly, am I going to keep the material as it is, the process of weaving, and change the product only? Or keep the process only and add an unexpected material to a new product? In order to get an answer, I had to experiment using the material to explore more what can be done and what might fail. So, the next step was to start prototyping and get in touch with a basket weaver back home and in here to gather more information.
By starting to think what type of forms I would like to have, I looked through an interesting project called Revolution in the Making: abstract Sculpture by Women, 1947 – 2016.
This project was established in order to engagement with found, experimental, and recycled material. It represents the work of women who express their own voices, dramatically, and by that they expanded the definition of sculpture.
All that information led to appreciate the project more, it adds value to it. The problem always is that consumers may not appreciate the time and effort that takes to made a single piece. According to Cherry, they admire the price, she always has to explain the reason, how difficult is that technique, how much time it takes and of course considering the material used.
While thinking of the possibilities on how to achieve a larger scale product by weaving, is the fish trapes,
I found an interesting example, called Aboriginal People’s Art, presented in the Contemporary Art Museum, Sydney, Australia, made by artists from Arnhem Land, in the Northern Territory of Australia
These beautiful sculptural forms are Aboriginal fish traps, woven from vines and pandanus palm leaves in a twining technique which is also used for baskets and mats. Although they were made as sculptural objects, they would function effectively as traps. So, they added an aesthetical factor to a well-known purely functional product. Personally, I believe that keeping the traditional weaving techniques and materials added a greater moral value to it.
Another example personally I believe it was a successful achievement in adapting a twist to a traditional product is the Blow Away Vase by Front, by exposing a traditional, simple, regular shape, Royal Delft vase to a simulated gust of wind, to end up with more modern, complicated, unique, irregular shape Blow Away Vase.