Thursday, December 9, 2010

Michael Radyk YELLOW PROJECT 33 Oregon College Of Art and Craft: Portfolio Exchange and Collaborative Woven Series



For this piece for the Portfolio Exchange and Exhibition, I wanted to produce an edition of textiles that employ an array of techniques inherit in weaving, garment making and textile manufacturing. The techniques in this collection include: designing, warping, weaving, embroidering, washing, stitching, trimming, clipping, ironing, finishing and finally labeling or branding with a printed label.
In this collection, I hope to draw attention to the many processes involved in the manufacture of the textiles and clothing we encounter everyday.



The project has two components: my initial production of 33 yellow pieces of cloth for the 20th Anniversary Portfolio Exchange and a project inviting participants to weave 33 textiles on my loom, exploring the relationship between weaving and agitation.






Project: Production of 33 yellow textiles.

Each research participant will weave an 10”x 8” piece of yellow cloth. The material, structure, color will remain constant. The participants will be asked to arrive in either an agitated or relaxed state of mine. They will be asked to weave 2 inches of plain weave, than insert a line of satin weave when they feel a change in mood or state of mind. The cloth uses the structures of plain and satin weaves, which are the ground weaves for many textiles. Instruction will be provided.





Research Question

Will the weavers/participants experience a neurological change?

Labeling/Branding/Completion

After the participant has finished I will embroider a mark of completion, a label that authorizes each piece for the Edition Portfolio.

Time/Place

The Project will be conducted in the weaving studio at scheduled times, through out the week.




Project Ideation

The project will bring together and question some of the research into the production of woven cloth and its connection to the agitation or calmness of the weaving process and its relationship to color and neurological responses.




I have been interested in histories of weavers, both fictional and real, and the conditions they lived and worked, many times in solitude and hardship. The writer George Elliot in the novel Silas Marner describes the life, landscape and work of the weaver.

Also, Van Gogh found and documented the lives of weavers and their living conditions in Belgium. There he passed through villages of weavers and was deeply impressed by what he saw as the craftsmen’s almost meditative aura. In Nuenen, the Netherlands he encountered that the weavers were actually hardworking poor and not figures of dreaminess. What Van Gogh foundthere was often something agitated and restless about them and the grim
reality of their lives.




What I hope to accomplish with this project is a look at how people, relate to the process of weaving, does it bring about agitation or calmness?