Stretch
Flatland Projects, Hastings
list of works with exhibition text by Phoebe Cripps
photos: Edward Bishop
exhibition view
exhibition view
exhibition view
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)
boots modelled after a pair owned by Michelle Williams Gamaker
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
boots modelled after a pair owned by Michelle Williams Gamaker
unfired flax fibre clay with grogged body (hand modelled);
pink 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
Be Soft But Not Too Soft (Michelle), 2019
(series of 3, unique)
boots modelled after a pair owned by Michelle Williams Gamaker
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)
boots modelled after a pair owned by Michelle Williams Gamaker
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)
exhibtion view
Production images for Balaclava (op) and Balaclava (+/-), 2019
included as A6 postcard prints alongside the exhibition booklet