Having made great play last month about restarting my
writing on textiles and weaving in particular I’ve had to pass on
last fortnight’s blog. I have broken my arm, and rather badly,
enough to warrant surgery and a plate of metal to pin a fractured
ulna. Yesterday I went to the hospital to have a full cast put on
my arm and a fresh bunch of x-rays. All seems well and with luck
I’ll be out of this plaster by the New Year.
Being unable to weave (I was just about to put a new warp on my loom) has
meant me being thrown back on reportage or musings. I still have good intentions to write more fully on my experience of the Warp+Weft shows at the end of October. In one sense this fortnight’s chosen subject – sculpture and weaving– was something very present in the Oriel Myrddin exhibition. So many pieces in that show curated by Laura Thomas were multi-dimensional: the works by Ann Sutton, Laura Thomas herself, Ptolemy Mann and others. What
is it that makes textile artists work in this way? Is it the lure of the sculptural aesthetic that continues to be such a vigorous element in our visual culture? Sculptors such as Anthony Gormley and Anish Kapoor continue to excite the imagination with work that responds both to physical landscape and to man-made space.