Lab Stories
Heather Delday and Susan Benn
 


At Burrastow House we enjoyed the story telling by Mary Blance. It reminded me of home (Orkney) with tales of selkies (seals) and the word ‘riven’ meaning ‘torn’ which can be an emotional as well as physically thing. Later at Burrastow, Frankie’s presentation showing her use of new materials was very inspirational - how complex and lattice like shapes could be’ metalized’ giving solid form to delicate structures. I’d been beach combing and found some fish eggs, I thought of the materials Frankie was using.

During the Lab I found some ‘industrial waste’ on the floor in the machine room. These scraps of knitting are needed to join the actual garment onto the machine. This contains a lycra (stretchy) yarn in amongst the wool yarn, and because of this they curl nicely. I curled and coiled some shapes they looked very organic. This reminded of an exhibition I’d seen by the Blaschka brothers (1). It was also because we were living beside the sea – on an island ‘surrounded’ by anemones, jellyfish and invertebrates.

Meeting the lace knitters and seeing the complexity and softness of the ‘cobweb’ lace, I realized that it’s delicacy means it’s often folded and kept in drawers. I wondered if it was possible to somehow ‘stiffen’ the cobweb lace using ‘grilon’ a new fibre which Frankie showed us. Grilon is mouldable when exposed to heat - steam or immersed in hot water. This thought connected to images which have been with me for over 25 years – Haeckel’s lithographs. Could I make 3 dimensional lace using this grilon?

Susan had the excellent idea of re designing (improving) a classic A shaped sleeveless jumper. This jumper could act as a ‘foil’ for a range of designs for what we came to call interchangeable ‘neckpieces’. We began working together with Walter (the industrial knitting machine technician) to get a prototype jumper made. We visited the wool broker and got some Shetland wool. The colours were beautiful, the subdued earthy colours reflecting the landscape, but the feel of the wool was neither soft nor luxurious.

We began to work with different ideas of what the neckpieces could be. Susan selected some of the more unusual yarns in the college and knitted some triangular pieces which could tie at the back or at the front of the neck.

I began simulating lace by drawing an enlarged Fair Isle pattern onto an open wove cotton with soft grey pencil. I then tore and teased the fibres to suggest irregular more 3 dimensional lace.

At our mid week meeting we discussed the idea with the rest of the group who made lots of suggestions - we could attach objects to the neckpieces, like shells or semi precious stones, we could use felted material as well as knitted or woven. Susan suggested that the idea itself could be marketed with ‘packs’ for people to make and/or design their own neckpieces to accompany the basic jumper.

I really like the fact that the neck-pieces are not-quite necklaces, not-quite scarves, not-quite collars. I continued with Susan to work on the prototype, by accident more than design we now have a few different styles and some are felted and are open at the front. We used a range of different yarns, lambswool and cashmere mixes as well as Shetland wool.

I’m continuing to experiment with grilon lace and the idea of ‘various species’ of industrial waste.

Susan and I would like to perfect the sleeveless sweater prototype and Susan is interested in developing the idea of knitting packs for neck pieces further, as a potential Langerin’ Lab project with schools in Shetland.

(1) They were glass makers working in the late 19th century making glass models of sea creatures (Aberdeen Art Gallery, Leopold & Rudolf Blaschka, December 2002). See Leopold & Rudolf Blaschka, Design Museum, National Glass Centre, TwoTen Gallery and the authors, 2002

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