exhibition view: Stretch, Flatland Projects, Hastings, 2019 

 

 

exhibition view: Stretch, Flatland Projects, Hastings, 2019 

 

exhibition view: Stretch, Flatland Projects, Hastings, 2019 

 

detail: Stretch (after Sylvie Fleury), 2019

pink, yellow, and peach elastic (wide Italian cartridge pleat elastic, Italian cartridge pleat elastic with lamé, grosgrain fold over elastic, woven waistband elastic), c. 16–18th century dress pins collected from the Thames foreshore, c.16th century dress pins cast in hard brass from two originals, brass fixings

 

 

Missoni stretch (pink cast), 2019

graphite powder, diamond dust, pink mica powder, and crushed calcium tablets on paper (85% cotton, 15% linen) blind embossed with Missoni knit fabric and striped lamé knit top

 

 

detail: Stretch (after Sylvie Fleury), 2019

pink, yellow, and peach elastic (wide Italian cartridge pleat elastic, Italian cartridge pleat elastic with lamé, grosgrain fold over elastic, woven waistband elastic), c. 16–18th century dress pins collected from the Thames foreshore, c.16th century dress pins cast in hard brass from two originals, brass fixings

detail: Missoni stretch (pink cast), 2019

graphite powder, diamond dust, pink mica powder, and crushed calcium tablets on paper

(85% cotton, 15% linen) blind embossed with Missoni knit fabric and striped lamé knit top

 

Be Soft But Not Too Soft (Michelle), 2019

(series of 3, unique)

unfired flax fibre clay with grogged body (hand modelled);

red, blue, green, and yellow iron oxides

Balaclava (+/–), 2019

inverted, greyscaled, and horizontally flipped ‘+/–’ balaclava after Rosemarie Trockel; design translated from images and knitted by Sarah Shepherd (two shown from an edition of 10). Machine knitted donegal lambswool hand dyed with natural hair dye (ebony black) and squid ink, undyed donegal lambswool (natural chalk)

Be Soft But Not Too Soft (Michelle with Sylvie Stripes), 2019

(series of 3, unique)

unfired flax fibre clay with grogged body (hand modelled);

red, blue, green, and yellow iron oxides

Balaclava (op), 2019

inverted 'op' balaclava after Rosemarie Trockel; design translated from images and knitted by Sarah Shepherd (two shown from an edition of 10). Machine knitted donegal lambswool hand dyed with natural hair dye (ebony black) and squid ink, undyed donegal lambswool (natural chalk)

exhibition view: Stretch, Flatland Projects, Hastings, 2019 

Be Soft But Not Too Soft (Michelle), 2019

(series of 3, unique)

unfired flax fibre clay with grogged body (hand modelled); red, blue, green, and yellow iron oxides

Balaclava (op), 2019

inverted 'op' balaclava after Rosemarie Trockel; design translated from images and knitted by Sarah Shepherd (two shown from an edition of 10). Machine knitted donegal lambswool hand dyed with natural hair dye (ebony black) and squid ink, undyed donegal lambswool (natural chalk)

 

Missoni stretch (green cast), 2019

graphite powder, diamond dust, powdered spirulina, and copper oxide on paper

(85% cotton, 15% linen) blind embossed with Missoni knit fabric and striped lamé knit top

Be Soft But Not Too Soft (Michelle), 2019

(series of 3, unique)

unfired flax fibre clay with grogged body (hand modelled); red, blue, green, and yellow iron oxides

Balaclava (+/–), 2019

inverted, greyscaled, and horizontally flipped ‘+/–’ balaclava after Rosemarie Trockel; design translated from images and knitted by Sarah Shepherd (two shown from an edition of 10). Machine knitted donegal lambswool hand dyed with natural hair dye (ebony black) and squid ink, undyed donegal lambswool (natural chalk)

 

 

exhibition view: Stretch, Flatland Projects, Hastings, 2019 

 

 

Production images for Balaclava (op) and Balaclava (+/-), 2019 

included as A6 postcard prints alongside the exhibition booklet

 © 2020 Madeleine Pledge