Artist Statement

I am fascinated by the magical transformation of simple linear materials into complex structures and surfaces, which build organically, one stitch at a time, through the repetition of small pattern units and changes of scale.

Previous works have explored the linear qualities of knitting as metaphor to speak of time passing, a symbolic journey. The slow, rhythmic processes of hand knitting offering a quiet thinking space, while the stitches form intuitively (Inside Out 2003).

Works created for Made from Memory (2004) explored the concept of protection, along with a fascination for creating objects which give a sense of the re-discovery of seemingly ancient artifacts. The medium of knitting is invoked, in combination with other textile techniques to tantalize the viewer and encourage the construction of personal narratives. As well it is hoped the provenance of the works will be questioned, through a series of incomplete visual clues, labels and apparent codes.

Working methods include the use of formal number systems such as Fibonacci, and inspiration is taken from perforated pattern templates such as jacquard cards and player-piano rolls to create multiple images, where each image is unique yet similar. (Reading between the Lines, 2007). Altered text plays an important role in my new work, linking back to Spirit Dress 1 to 4 (2003 -2005), with continuous loop construction techniques taking on the appearance of hand written text. Altered text plays an important role in my new work, linking back to Spirit Dress 1 to 4 .

Let No Loop Down (2009) references the craft of traditional knitters of the Yorkshire Dales and Cumbria, and in particular old knitting tools and related texts. An exhibition of contemporary textile narratives the work is multi-disciplinary in approach and is inspired by objects and artefacts with a sense of history, time and place, interpreting them in a contemporary context through textile-related techniques and processes. The use of multiple images where each image is unique, yet similar, continues to be an important part of my practice. Sources of inspiration included traditional knitting implements, museum examples of darned and worn socks, associated knitting texts, and stories and counting songs from the Yorkshire Dales and further afield. This body of work begins to explore ways in which printed textiles can be fully integrated into multi-disciplinary textile artwork. For example, combining printed surfaces with computer-generated machine embroidery and knitting. Techniques include stitched and felted machine knitting, printed and stitched wool fabrics.

Materials-led, my work is about exploring how ideas evolve through the making process, and the symbiotic relationship between materials, processes, concepts and individual creativity. It’s about thinking with your hands, exploring the potential of yarns and non -fibrous materials as a vehicle to communicate via the making process.

As a maker and an educator I am totally committed to moving traditional textile construction techniques forward as challenging and relevant working methods within contemporary fibre arts practice.

Ruth Lee, March 2009