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  • 1.
    Adborn, My
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Förnimmelsens besiktning2016Independent thesis Basic level (degree of Bachelor of Fine Arts)Student thesis
  • 2.
    Andersson, Alexandra
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    På tal om texturen2018Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Abstract

    I want to talk about tactile experiences, words that extend beyond touch. A full-body experience of space that begins with the senses, creating a collective understanding when everything is combined. We step in unbeknownst, activating our senses through the shapes and textures that enthral us. With our eyes, we access the dynamic of the room. 

    The foundation of my work is texture, so I explore the surface through it and textile is my chosen material because it allows me to do just that. By distorting, adding and pulling apart I can always get a new experience of it. In this project I work with three-dimensional patterns on the surface of the textile, and with subtle changes in volume I try to capture the light that falls on it and emphasis the texture to make the experience of it even richer.

  • 3.
    Beckman, Katja
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Structures of a depiction which I no longer remember2016Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    I'll make a big, yellow tapestry.

    In the project I'll examine textures and surfaces in a monumental tapestry, and the translation of an image into a tapestry through reliefs and materials.

    I'm a tapestry weaver, and in this project I'll work with structures and the sculptural aspect of weaving in an abstract tapestry. My aim for my textiles in general is to give the viewer a sublime feeling when they meet my work.

    In an extended scene this is a textile version of a photography. When I look at something for a long amount of time, it'll turn into structures, then the image itself is not so important anymore but the memory of it. This is a tapestry where I have turned this memories into structures in textile material.

    This project is a research in many various woven structures and techniques, which is arranged intuitively. It doesn't have a specific message but to re-create the sense of many and complex feelings. The different structures portrays the process of memories, like solitude, fears, tenderness, abstraction/imagination and concrete reality. This tapestry is the result of many experiments with the form and structure.

  • 4.
    Eggertsdottir, Sigridur
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Allt bebor kaoset2016Independent thesis Basic level (degree of Bachelor of Fine Arts)Student thesis
  • 5.
    Elggren, Sara
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    No. 1-2-3-4!: (Motoric Key)2016Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    No. 1-2-3-4! (Motoric Key) consist of a weave series and a printed edition. Each piece with the outline 21x21 cm, a size similar to a hand, or a handkerchief, generic in the relation to a blueprint of a weave sample or a leaflet; a utilitarian object to use and be used. An economical outline that enables a mobility and simplicity of direction. A one made as one, one, one, through two years. A handkerchief tool. Potential efficiency, tunes and characters, stating the importance of listening as a way of working.

  • 6.
    González Osnaya, Ma de Lourdes
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Tan Lejos y tan cerca/ So far and so close2018Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    A project around loss and absence. This work is a reflection on tradition, mourning and the importance to remember. Based on how crafts relate to society in ceremonial contexts by being a tool to communicate with others.

    By having a reflective relation with tradition this fiber works intend to transfer the innate poetic language of symbolic materials used in rituals around death and commemoration in Mexico into new forms through specific repetitive actions in the making.

    Delving into the unique physical qualities of onion skin, sugar, beeswax, corn husks and paper. Seeking to evoke an emotion by diverting our perception of ordinary materials.

  • 7.
    hedberg, ellinor
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Allt som glimmar2018Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    My aesthetic preferences was shaped by the jumble of pop culture from the 80´s and 90´s. Also Archie comics, Wham-songs, musicalfilms like Annie and Fame, even the colourful racing suites worn by swedish downhill skier Tomas Fogdö in 1993, seems to have had an impact on my taste for glitter and strong colours.   This is something I´m always carrying with me and it echoes in my drawings and embroiderys

  • 8.
    Johansson, Ida
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    NOT ON THE FABRIC BUT IN THE FABRIC: hardanger embroidery, animation and the grid2016Independent thesis Advanced level (degree of Master (Two Years)), 80 credits / 120 HE creditsStudent thesis
    Abstract [en]

    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.

  • 9.
    Karlberg, Catrin
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Me, Weaving: Speak in another way2018Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
  • 10.
    Kollberg, Evelina
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Människofällan2016Independent thesis Basic level (degree of Bachelor of Fine Arts)Student thesis
  • 11.
    Lundsjö, Kristina
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Ways of dealing with her fabrics2018Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This paper presents my project of working with an inherited collection of textile materials. It also presents the links my work has to aspects of Femmage, the term coined by artists Miriam Schapiro and Melissa Meyer in the 1978 article Waste Not Want Not: An Inquiry into What Women Saved and Assembled-Femmage. Working with this textile tradition I explore ways in which to develop my own visual language, where intuition, play and rhythm are key methods and collage, appliqué and print are the main techniques. 

  • 12.
    Löfgren, Sonja Maria
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Fragments of Belonging2017Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    My master work is an installation of hand embroidered images.

    The theme of my work has been the feeling of belonging to a new environment and the process of a place becoming a home. I explore the perception of a place and pick fragments to translate into embroidery.

    The key question is: how can I communicate a state of mind and perception of a place with embroidered images?

    With this body of work I also explore the hierarchy of places in a city. I use a large amount of hours working on one specific fragment and through the chosen slow technique I discuss the value of it.

  • 13.
    Martin, Lucy
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Funland_123: How can I use material, interactivity and symbols to create an allegory of how The Internet has changed our lives?2018Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
  • 14.
    Matei, Linea
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Schyssta Killar: Ett utforskande av mansroller och jämställdhet med fokus på män2017Independent thesis Basic level (degree of Bachelor), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Nice Guys

    A research of gender equality in Sweden 2017 focusing on men and men's roles.

    A study how I can shift focus from the victims to the perpetrators.

    A method of working with interviews, statistics, and studies in a combination with visual techniques and materials such as textile sculpture, print, painting and dyeing.

  • 15.
    Moores, Hannah
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    A Fragile Language2018Independent thesis Advanced level (degree of Master (Two Years)), 80 credits / 120 HE creditsStudent thesis
    Abstract [en]

    Through my personal viewpoint as a textile designer, this paper explores my thoughts of history and archive as narrative, textile as body and print as memory. My methods center around printed textiles and its potential to explore themes and further methods of layering, memory and narrative. Through experimenting with techniques including devoré, screen, block and stencil printing, I aim to highlight and visualise a fragility in our recording of history. As Victoria Browne quotes in ‘Feminism, time, and nonlinear history’, “all history takes place in the present, as we make and remake stories about the past to enable a particular present to gain legitimacy.”. In the case of the project, the history is within printed textiles and for the me the story is not of a particular person but of a collective language of artists who use shape, layer and colour as a tool to communicate and understand their personal world.

  • 16.
    Määttä Siltberg, Vega
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Vinterskörd2016Independent thesis Basic level (degree of Bachelor), 15 credits / 22,5 HE creditsStudent thesis
    Abstract [sv]

    Utgångspunkten i detta projekt har varit att skapa en inredningsdetalj till en specifik plats och kund och att göra det på ett så miljövänligt sätt som möjligt. Min kund är ett bageri och kafe vars koncept är att använda sig av lokala och ekologiska råvaror. Konceptet och kafeets befintliga inredning har påverkat min gestaltning. Jag har valt att fokusera på vass som material och skapat en vävd vägg av vass som fungerar som skiljevägg eller väggbonad och som är funktionell och framför allt dekorativ. Genom processen har jag tagit olika val baserade på min vilja att arbeta miljövänligt. Du får ta del av min arbetsmetod där jag genom hantverket provar mig fram till det slutgiltiga objektet och samtidigt lär mig om materialets kvalitéer och historia.

  • 17.
    Möller, Anna Ting
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    THE BABY BUCHA PROJECT2018Independent thesis Basic level (degree of Bachelor), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    For my bachelor's project, I am confronting the feelings of being transnationally adopted. I do not see adoption as a ”win-win” situation, and I would like people to both think critically about it and question its glorification. As a POC-child myself who grew up with white parents, colorblindness has made my existence rather difficult to deal with. Plagued with feelings I did not understand at the time, I became an isolated island. I want to visualize the feeling of estrangement and alienation from your own body and frightened to drown in your own skin. I have often felt the need to unzip my skin suit and to leave it in a pile on the floor, next to my trousers. In this project I am growing my own skin in a vat, or more precisely, I am growing a kombucha culture in tea and sugar. During the fermentation process, the kombucha culture creates a cellulose material that resembles human flesh. The process is slow, and the development of the material requires a lot of love and nutrition. In return, I get a self-produced material that allows me to work independently. My final piece communicates how it feels to not feel compatible with the body that encases you, as a result of the norms that are written onto your skin.

  • 18.
    Nilsson, Emma
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    AMEH JAG DÅ!?: En mönsterkollektion och ett litet rop på hjälp2017Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    Med utgångspunkt från boken Omforma : Nya strukturer för designbranschen, har jag undersökt arbetssituationen för en mönsterdesigner 2017 och hur det går att koppla till svensk mönsterhistoria. Ett exempel jag tittar närmare på är kollektionen Signerad textil som visades på NK 1954. Jag reflekterar också över samtidens besatthet av mönster från 50- och 60-talet och vad det kan skapa för konsekvenser för nu verksamma formgivare. 

    I det gestaltande arbetet har jag skapat en varierad mönsterkollektion där jag försöker reflektera och utmana min egen designprocess.

  • 19.
    Nilsson, Fia-Maria
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Ritualia – för att få mig att bli hel2018Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    We need to talk you and I, in a place that is our own. There, we can see everything around us as less important. There, I can sink into you, live, and tell everything. Take back the power over you. Take back the power over the events that destroyed us both. There, I can become a part of myself, and then, nothing else is visible.

    I listen to the body without distancing. Free movement of the body without the guidance of others. I let the mind meet the body, in a way it previously failed. Whatever we go through here, we will do it together, and no one else is inside. If we get through this, can we come closer to each other and experience the mental freedom that includes us both? We need to talk you and I, in a place that is our own.

    A performative work with the weave as the tool

  • 20.
    Nilsson, Linette
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Swimming Pool2017Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    My project started with two words: Swimming Pool. They came to me through a song, Banshee Beat by Animal Collective (2005). To me, their music is mystical, abstract, unpredictable and also metaphorical. So I started to think about if a swimming pool could be something more than just an open container filled with water. After some thinking I came to the conclusion that it could be a metaphor for something calm, quiet and dreamy. However, I’m not sure but my aim is not to get to a specific answer through this project. 

    I’ll turn the metaphor into a textile work that portrays what you see when you’re standing at the edge of the swimming pool; a distorted picture of a grid, the bottom of the pool. I’ll be working with dyeing, patchwork and quilting. The textile craft is important in this project because of how relaxed and calm I get by doing things with my hands. 

    The questions I’m asking myself are how I can express the metaphor through my work? What if my interpretation is too wide? Is it possible for me to create a tactile and calm feeling without the physical touch? 

  • 21.
    Nirstedt, Mathias Miriam
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Lipgloss Melt2018Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This work is an exploration of the relationship between gender, the body and clothing, raising questions about identity while trying to deconstruct gender as a binary concept. I relate textile material transformations to drag and talk about the importance of non binary and trans visibility and representation. Interweaving my personal story with queer theoretical elements, I’m creating a sculptural installation, visualizing a possible future where fluidity supersedes fixity.

  • 22.
    Peterson, Frida
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Inte feel good, inte feel bad, bara feeling strange.2018Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    It is tragic that one can never be a child again. It is equally tragic to always remain a child. I see my work as a story. In this story, however, I don't want to say exactly how it is or how it was. Just how it feels. My work straddles the border between desire and material. I do whatever feels right and slowly from that, a setting, a landscape of materialized feelings and thoughts are painted into being. In Latin, "textere" means "to merge", which refers to both text and textile. "Merge" is a good word for my work. I don't particularly like to write, which is why I like to work with weaving and embroidery. Different paths, events, thoughts, threads and people are woven together and form a context, a story. The various objects are merged into sentences, timing and punchlines.

  • 23.
    Riordan, Julia
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Color The Streets: Ett dokumentärt arbete om min tid på IPAF Festival, Cape Town i Sydafrika2018Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    DAYDREAMS

    Three years ago my friend Maja and I were sitting at a beach on an island in Thailand, fasting, drinking green-juices and coconuts with straws. We were painting and talking about our dreams. I was dreaming about painting big walls, dreams that felt far away. The next day I found myself on an expressboat to the nearest island hospital. I was totally exhausted. I wanted to step into the new year like a new person, but ended up like this.

    I survived the ordeal and came home alive. Upon returning home I got the opportunity to paint my rst indoor wall at Marie Laveau, where my friends and I had a club. It was a relatively small job, but such a cool feeling painting along with other female aritsts in a safe space. I knew inside that this was something I wanted to explore more deeply. I began to see the connection between textile and spraypainting in a whole new way.

    I’ve found in my life that one step always leads to another, and hard work often brings results. My dream about one day painting a large wall was now a realistic possibilty. The summer of 2017 I suddenly found myself on an airplane heading for Ajman in the Arabic Emirates. I had been invited to paint a 16 meter high building overlooking the sea. The outdoor temperature was 42 degrees. I was so nervous and scared. I’ll never forget the feeling of being so high up on a wobbly skylift shifting back and forth in the wind while the engiine was overheating. Panic. I was stuck. However, once again I managed. The painting was completed and I’ve never felt so proud and happy before.

    I’m a big believer in dreaming, when I dare to visionize in all directions I feel that somewhere it will be recieved. I’ve seen that the possibility of my dreams coming true increases when I write them down and talk about them, even though it at times can feel scary. Even though sometimes I don ́t feel capable or my con dence is shaky. To be good at something requires taking that rst step. 

  • 24.
    Skantze, Kristina
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Body anagram2016Independent thesis Advanced level (degree of Master (Two Years)), 15 credits / 22,5 HE creditsStudent thesis
    Abstract [en]

    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.

  • 25.
    Smith, Benjamin Michael
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Building Materials2016Independent thesis Advanced level (degree of Master (Two Years)), 80 credits / 120 HE creditsStudent thesis
    Abstract [en]

    In this paper I outline my research into material humour through designing and making cut pile rugs.  Cut pile rugs are textiles that have yarn at a right angle to the surface of the cloth creating a ‘pile,' this can be produced by knotting by hand, or tufting using a tufting gun.  In this project I translate the patterns into tufted carpets to investigate how the patterns change when they are transformed into three dimensional objects.  Alongside this technical research I  study the use of material humour in the works of conceptual design studios; Front, Uglycute and Droog to explore the use of comedic effects in design.  This paper will develop these investigations by documenting the creation of samples and rugs and their presentation at the Konstfack 2016 Spring exhibition.

  • 26.
    Sollevi, Anna
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Craft Reality2017Independent thesis Basic level (degree of Bachelor), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    CRAFT REALITY Handicra vs. Digital technology

    A mashup with the aim to unify and to expand.

    A research of the possibilities that appear when I allow textile cra to get a ected by and to interact with digi- tal manipulation and the aesthetic of the world wide web.

    A study in contemporary and underground art forms, developed by them young or A method of working with techniques and material, once taught by those today seen as them old:

    Maybe it can be both. 

  • 27.
    Stampe, Elin
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Ögonblicksbilder: En konstnärlig undersökning av den koreografiska relationen mellan kropp och objekt2017Independent thesis Basic level (degree of Bachelor), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Ögonblicksbilder - A discussion about the interactive and choreographic relation between body and spatial object.

    The eye, an organ with many sections, has a significant role in today’s society. We can choose what is received (news, surroundings, people) and what we turn a blind eye to. The gaze is somewhat physical and the sections within the eye define the space around us. Body and space are in constant relation to one another, choreographed by each other. Together they create a common sphere. 

  • 28.
    Tingvall, Josefin
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Soft Society2017Independent thesis Advanced level (degree of Master (Two Years)), 30 credits / 45 HE creditsStudent thesis
    Abstract [en]

    Illustrated exam paper for Josefin Tingvalls project Soft Society. Which is about investigating through cloth and textile our urban surrounding. The core question ; if I go out in an urban area and use textile as a recordmaterial, what traces and stories will I bring back? By looking at textileas a matter, craft and as a philosophical starting point in urban areas, what can it tell about our surrounding and our society? In the three mainchapters of the paper, Tingvall reflects upon important themes such as wandering and spectating, also exhibiting of process based craft, textilein urban areas and matter-based dyes and their relation to us.

  • 29.
    Towndrow, Lizzie
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    The Patchwork-Quilter as the Storyteller: MY DEAD DOG!2016Independent thesis Advanced level (degree of Master (Two Years)), 80 credits / 120 HE creditsStudent thesis
    Abstract [en]

    Objects can evoke our most vivid memories and sensory emotions, through the stories that have been engraved into them across their lifetime. Throughout history, patchwork-quilting has been used to tell stories, hide messages and hold histories. They are seen as objects of warmth, comfort and security, inanimate extensions of ourselves that store our most complex sentiments and memories- becoming heirlooms that are kept in the families and communities for generations, preserving our histories and material culture. 

     

    I intend to explore the inseparable relationship between craft and narrative within quilts, whilst re-imagining the quilts forms and functions in order to communicate stories more vividly. To do so I will use my memories of My Dead Dog, Henry, to illustrate narratives and embed them into quilted objects to stage as a tableau of artifacts. I intend to encourage the viewer to realise the imagined, through a haptic experience of my material world, whilst simultaneously creating my own heirlooms that can be passed down so my stories are not forgotten.

  • 30.
    Varhelyi, Agnes
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Fucka Upp-Styrkan2016Independent thesis Basic level (degree of Bachelor of Fine Arts)Student thesis
  • 31.
    Wall, Sofia
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Kärleksmönster2016Independent thesis Basic level (degree of Bachelor of Fine Arts)Student thesis
  • 32.
    Wang, DanFong
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    THE SPARKLE, THE BLOSSOM, AND THE MILKY LAND2018Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
  • 33.
    Westerberg, Julia
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Gal Pals in Print2017Independent thesis Basic level (degree of Bachelor), 20 credits / 30 HE creditsStudent thesis
  • 34.
    Williamson, Kay
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Being In Touch, The Important Thing For Folks To Be2016Independent thesis Advanced level (degree of Master (Two Years)), 80 credits / 120 HE creditsStudent thesis
    Abstract [en]

    This project considers the potential impact of learning relations between hobby craft makers and formally educated makers. It questions how the craft based relationship of a formally educated artist and a self taught/amatuer maker can be renegotiated and implemented in a broader learning context. The artistic research aims to propose that a facet of ‘new knowledge’ in the field and future of contemporary art and craft production is one of togetherness; by embracing discomfort and the unfamiliar to affirm and reveal the knowns and unknowns of one's own practice and field. The question is considered in discussion with social/relational art practices, amatuer craft theory and gift theory. The project culminates both in this paper and an exhibition piece as part of Konstfack University College of Arts, Crafts and Design Spring Exhibition 2016.

  • 35.
    Wollin, Elin
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Fresh Face >>> Body 2.0: Handens minne + Digitala dimensioner2017Independent thesis Basic level (degree of Bachelor), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    "My goal with this project is to digital print a Science Fiction inspired print on fabric that provides an optical illusion with lenticular technology. The fabric will be presented with five curtain drapings, two in motion with motorized movable suspensions.

    The Print design is going to be created with a science fiction/cyberpunk/transhumanism atmosphere. I’m inspired by the relation between body and machine. The textile field is drawn to smart textiles where the idea of function, artificial intelligence and virtual reality is central. There are already textiles that are designed to react to the wearers needs. And soon it will be possible for the online shopper to purchase customized clothes by recreating themselves as an avatar through 3Dscanning. With this as inspiration my digital print is designed.

    Technically I will produce a fabric using the lenticular technology that creates an optical illusion. In order to produce the fabric, I need to work with the prints in Photoshop and then digitally print them on fabric. So that the fabric could be able to obtain an optical effect, a lens made of silicone will be laminated on top. The silicone lens is cast in a form which is sketched and made as a model in Rhino and then cut out from a metal block with a milling cutter.

    The composition will be presented as five curtain drapings. Two of them moves with electric winches. They will hang separately but communicate in a spatial constellation. Like organs the draperies spread out and fall back again. Here, as in the print design, the body and the machine will be crucial. The focus is also on the fabric's tactile character, drama and historical heritage."

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