arianefourquier

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	<title>arianefourquier</title>
	<link>https://arianefourquier.com</link>
	<description>arianefourquier</description>
	<pubDate>Fri, 31 Jan 2025 07:28:27 +0000</pubDate>
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		<title>Home</title>
				
		<link>https://arianefourquier.com/Home</link>

		<pubDate>Tue, 21 Feb 2023 15:05:04 +0000</pubDate>

		<dc:creator>arianefourquier</dc:creator>

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		<description>&#38;nbsp; &#38;nbsp; &#38;nbsp;&#60;img width="595" height="842" width_o="595" height_o="842" data-src="https://freight.cargo.site/t/original/i/9914962ec2a79ed1b1ac454ea6c84d5a96b802ecd615f4ed7aec8db33f23c1b2/portrait-web-2new-.jpg" data-mid="169314276" border="0" data-scale="100" src="https://freight.cargo.site/w/595/i/9914962ec2a79ed1b1ac454ea6c84d5a96b802ecd615f4ed7aec8db33f23c1b2/portrait-web-2new-.jpg" /&#62;</description>
		
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		<title>Portfolio</title>
				
		<link>https://arianefourquier.com/Portfolio-1</link>

		<pubDate>Fri, 31 Jan 2025 07:28:27 +0000</pubDate>

		<dc:creator>arianefourquier</dc:creator>

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		<title>Wall hangings </title>
				
		<link>https://arianefourquier.com/Wall-hangings</link>

		<pubDate>Tue, 02 Apr 2024 07:17:45 +0000</pubDate>

		<dc:creator>arianefourquier</dc:creator>

		<guid isPermaLink="true">https://arianefourquier.com/Wall-hangings</guid>

		<description>
&#60;img width="1000" height="1333" width_o="1000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/eddee2abd0405ae4ce6ad3ee9373b92cbdbd9452137a43f1784ab260c1e7f000/Ariane-Fourquier_handwoventextiles4.jpeg" data-mid="208081288" border="0"  src="https://freight.cargo.site/w/1000/i/eddee2abd0405ae4ce6ad3ee9373b92cbdbd9452137a43f1784ab260c1e7f000/Ariane-Fourquier_handwoventextiles4.jpeg" /&#62;
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&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Hand woven silk organzine and paper yarn&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#60;img width="62" height="50" width_o="62" height_o="50" data-src="https://freight.cargo.site/t/original/i/73012c513bec62a944ee135e08b0ba85b20f9ac13c9cbb638f1339afd1cbffe4/Screenshot-2023-02-22-at-12.35.32.png" data-mid="208081373" border="0" data-scale="4" src="https://freight.cargo.site/w/62/i/73012c513bec62a944ee135e08b0ba85b20f9ac13c9cbb638f1339afd1cbffe4/Screenshot-2023-02-22-at-12.35.32.png" /&#62;</description>
		
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		<title>FUSION</title>
				
		<link>https://arianefourquier.com/FUSION</link>

		<pubDate>Fri, 10 Mar 2023 10:17:12 +0000</pubDate>

		<dc:creator>arianefourquier</dc:creator>

		<guid isPermaLink="true">https://arianefourquier.com/FUSION</guid>

		<description>
&#60;img width="595" height="842" width_o="595" height_o="842" data-src="https://freight.cargo.site/t/original/i/54e42d3ae49c653f6af9e0ff12bde648fd6c9c4e9afa35ee0455d569e3207fa2/fusion-a.jpg" data-mid="171205874" border="0" data-scale="79" src="https://freight.cargo.site/w/595/i/54e42d3ae49c653f6af9e0ff12bde648fd6c9c4e9afa35ee0455d569e3207fa2/fusion-a.jpg" /&#62;
&#60;img width="595" height="842" width_o="595" height_o="842" data-src="https://freight.cargo.site/t/original/i/b8b3216aecf4afc28f06df692d096999d99487dd198d66f8fffd1d7d24ae89d7/fusion-c.jpg" data-mid="171205873" border="0"  src="https://freight.cargo.site/w/595/i/b8b3216aecf4afc28f06df692d096999d99487dd198d66f8fffd1d7d24ae89d7/fusion-c.jpg" /&#62;
&#60;img width="595" height="842" width_o="595" height_o="842" data-src="https://freight.cargo.site/t/original/i/18054bb8c17e89bb06102b8045520021fbd201dda9fd57484906206e4252d57b/fusion-d.jpg" data-mid="171205846" border="0"  src="https://freight.cargo.site/w/595/i/18054bb8c17e89bb06102b8045520021fbd201dda9fd57484906206e4252d57b/fusion-d.jpg" /&#62;
&#60;img width="595" height="842" width_o="595" height_o="842" data-src="https://freight.cargo.site/t/original/i/4711c5c90a49f4ed012783d7bdeadebe1c1e627a4cb4f80b9fac38c2a413af11/fusion-f.jpg" data-mid="171205796" border="0"  src="https://freight.cargo.site/w/595/i/4711c5c90a49f4ed012783d7bdeadebe1c1e627a4cb4f80b9fac38c2a413af11/fusion-f.jpg" /&#62;
FUSION&#38;nbsp; &#38;nbsp;.&#38;nbsp; &#38;nbsp;Fashion Up-Skilling: Innovation Open Network&#38;nbsp; &#38;nbsp;. &#38;nbsp; 
2020-2021 
FUSION is a programme organised by the Craft Council and funded by Creative Europe, in partnership with five institution, namely Limerick School of Art and Design, Design School Polytechnic Instute of Cávado and Ave, Fondazione Santagata for the Economics of Culture, Santa Chiara Lab and Makerversity. The project focused on developing innovative solutions for Active Ageing. I created an 
e-undergarment capable of emiting minute vibration through an embedded circuit. The research aimed to reduce the anxiety of female-identifying individuals going through menopause.&#38;nbsp;


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; to proposal&#38;nbsp;
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		<title>Negative space </title>
				
		<link>https://arianefourquier.com/Negative-space</link>

		<pubDate>Fri, 10 Mar 2023 13:34:57 +0000</pubDate>

		<dc:creator>arianefourquier</dc:creator>

		<guid isPermaLink="true">https://arianefourquier.com/Negative-space</guid>

		<description>


W(hole): An alternative perspective on weave structure notation&#38;nbsp;
.

PhD research&#38;nbsp;

&#60;img width="1514" height="1515" width_o="1514" height_o="1515" data-src="https://freight.cargo.site/t/original/i/9abb9b8f5500f9223187b108aa916d5386edd193d48c540596e8bf2fcf5d5d57/square-1.png" data-mid="205557270" border="0"  src="https://freight.cargo.site/w/1000/i/9abb9b8f5500f9223187b108aa916d5386edd193d48c540596e8bf2fcf5d5d57/square-1.png" /&#62;
&#60;img width="1512" height="1512" width_o="1512" height_o="1512" data-src="https://freight.cargo.site/t/original/i/2b7857ceb5e24b8252b73021fc085a96a875e978818fae3caea7681a07bae8c8/square-3.png" data-mid="205557276" border="0"  src="https://freight.cargo.site/w/1000/i/2b7857ceb5e24b8252b73021fc085a96a875e978818fae3caea7681a07bae8c8/square-3.png" /&#62;
&#60;img width="1512" height="1512" width_o="1512" height_o="1512" data-src="https://freight.cargo.site/t/original/i/d4c71ed177e8abc3011e5726cc871433cae042c801ae5488200e3397293c788c/square-2.png" data-mid="225785390" border="0"  src="https://freight.cargo.site/w/1000/i/d4c71ed177e8abc3011e5726cc871433cae042c801ae5488200e3397293c788c/square-2.png" /&#62;
&#60;img width="1512" height="1512" width_o="1512" height_o="1512" data-src="https://freight.cargo.site/t/original/i/51d68f5607d699a2660e89715fdacd2075dc899ba62a5137d0d6d11c0085ccfa/triangle-1.png" data-mid="205557274" border="0"  src="https://freight.cargo.site/w/1000/i/51d68f5607d699a2660e89715fdacd2075dc899ba62a5137d0d6d11c0085ccfa/triangle-1.png" /&#62;
&#60;img width="1508" height="1501" width_o="1508" height_o="1501" data-src="https://freight.cargo.site/t/original/i/18e5d471cdca8915cf3c94f2c19953e218255da0fbc2a1f5ff06ea35ed046857/triangle-3.png" data-mid="205557275" border="0"  src="https://freight.cargo.site/w/1000/i/18e5d471cdca8915cf3c94f2c19953e218255da0fbc2a1f5ff06ea35ed046857/triangle-3.png" /&#62;
&#60;img width="1512" height="1522" width_o="1512" height_o="1522" data-src="https://freight.cargo.site/t/original/i/7bb75d0dd7ca6b9bde28f4b044dcda728bd421dd0277669f91984cd466547118/IMG_7411.png" data-mid="205557191" border="0"  src="https://freight.cargo.site/w/1000/i/7bb75d0dd7ca6b9bde28f4b044dcda728bd421dd0277669f91984cd466547118/IMG_7411.png" /&#62;
&#60;img width="1517" height="1516" width_o="1517" height_o="1516" data-src="https://freight.cargo.site/t/original/i/6bc799b3c2c721cec22536f27484d2b9201e69f1398173ff9e838f75ee860126/IMG_7421.png" data-mid="205557193" border="0"  src="https://freight.cargo.site/w/1000/i/6bc799b3c2c721cec22536f27484d2b9201e69f1398173ff9e838f75ee860126/IMG_7421.png" /&#62;
&#60;img width="1528" height="1528" width_o="1528" height_o="1528" data-src="https://freight.cargo.site/t/original/i/ea0c7f478d28be63e93f4937a3a017c708424df803c84c90195ddc0c5eeae9b3/IMG_7407.png" data-mid="205557190" border="0"  src="https://freight.cargo.site/w/1000/i/ea0c7f478d28be63e93f4937a3a017c708424df803c84c90195ddc0c5eeae9b3/IMG_7407.png" /&#62;
&#38;nbsp;
 
to proposal&#60;img width="62" height="50" width_o="62" height_o="50" data-src="https://freight.cargo.site/t/original/i/0f18638552eef6575cea14e0f821f9fe6a53ce3e71d728852e90bd9429677bd6/Screenshot-2023-02-22-at-12.35.32.png" data-mid="171220196" border="0" data-scale="3" src="https://freight.cargo.site/w/62/i/0f18638552eef6575cea14e0f821f9fe6a53ce3e71d728852e90bd9429677bd6/Screenshot-2023-02-22-at-12.35.32.png" /&#62;

</description>
		
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	<item>
		<title>negative proposal </title>
				
		<link>https://arianefourquier.com/negative-proposal</link>

		<pubDate>Fri, 10 Mar 2023 15:00:16 +0000</pubDate>

		<dc:creator>arianefourquier</dc:creator>

		<guid isPermaLink="true">https://arianefourquier.com/negative-proposal</guid>

		<description>
Woven smart structures&#38;nbsp;

Weaving plays a foundational role in our world. But until now, research into weave structures has persistently overlooked a vital – even integral – element: the negative. Semantically, negative includes ‘that which denies’ (adj.), ‘absence, nonexistence’ (n.) and ‘to reject’ (v.) – ultimately, something ‘which is not’. This leads me to observe that its potential material quality has been denied attention. 

In this practice-led thesis, I aim to explore the negative in and of weaving as a material entity rather than an absence. By ‘negative’, I mean the empty space neighbouring vertical and horizontal threads. Research combines conceptual and mechanical insights into the negative as the nucleus of a structure, in order to enable new understandings and geometries to be drawn. Building upon performative new materialist thinking and practices, the study interrogates our comprehension and use of the negative, and aims to re-present and re-conceptualise weave architectures to open new structural potentials.

Woven cloth construction relies on the intertwining of verticals and horizontals, respectively known as warp and weft. As such, the practice of weaving might be defined by its organised, hierarchical spatial structuring. Their existence is only made possible by the co-occupancy of the so-called positive (grid) and negative (hole). Woven textiles embody a disturbing and unintelligible conflict. Fundamentally antithetical, they are simultaneously rigid and fluid, ordered and chaotic, insofar that they encompass a rebellion against “the dream of symmetry” (Pajaczkowska, 2005) that industrialisation has desperately clung to ever since the eighteenth century.

Currently, when experimenting creatively with textile elements, weavers rely solely on traditional Euclidean geometry for cloth construction. This results in total dependence on machine specifications, a constraint which clearly prevents the ideation of potential new structures (Tandler, 2016). In fact, pioneer weaver Anni Albers (1946) points out that “the technique of weaving” has been “hardly touched by our modern age”. Although it isn’t known how weaving actually began, the idea of it emerged long before the machine (Broudy, 1979). This pivotal observation opens a potential window to imagine new weave architectures, away from the loom.

In The Question Concerning Technology, Heidegger (1954) poetically presents his ‘logic of technē’, i.e. technology, as entirely separate to the machine itself, insofar as the essence of a craft doesn’t depend on the mechanical. My thesis builds on this idea to explore how stepping away from known principles of weaving, current structure visualisations, and required tools, might shape new ways of understanding structuring.

Unlike in fields such as mathematics, philosophy and architecture, research into negative space in weaving has been mainly confined to aesthetic attributes – e.g. denting – or a mechanical property – e.g. negative Poisson ratio of auxetic fabrics –. Consequently and thus far, negative space has only been researched as an element of a structured system, not as its foundation.

In order to explore the concept of the negative as ‘not-something’ as opposed to ‘nothing’, the research will reflect on Thomas Nail’s (2018) study of Lucretius’s thesis on the question of matter: “it is [...] a doing” (Barad, 2007) and it is “what it does or how it moves” (Nail, 2019). This will support the investigation into the negative as an agential and performative system within structuring as a whole.

The study aims to thoroughly capture the negative, through the amalgamation of theory and practice. The negative reimagines the woven ‘hole’ as a structure unit, which is inherent to the existence of the whole (woven cloth). I will build upon Barad’s neologism of ‘intra-actions’, described as the dynamic shifts occurring in-between ‘things’, in order to comprehend the role of the hole as a ceaselessly size/shape-shifting entity. Drawing on the notions of infinity, limits and continuity in matter (Lucretius, 54 B.C.), chaos theory (Lorenz, 1963) and fractal geometry (Mandelbrot, 1975) practice will be informed by the “idea of pattern without regularity” (Culling, 1988).

The thesis positions performative new materialist reflections (Gamble, Hanan &#38;amp; Nail, 2019), theory of entanglement (Barad, 2007;&#38;nbsp; Kirby, 2017) and the question of emergence (Hartmann, 1909; Hegel, 1910; Heidegger, 1962; Golding, 2020) in dialogue with the practice of weaving. Crucial objectives include challenging the ways weave structures are creatively thought and drawn, and shedding light on a potential new way to see a structured system as a whole. To do so, the research asks:

(i) Can a conceptual and technical investigation of the negative as a material entity inform a new understanding of weave geometries that could open new structuring possibilities?

(ii) How could combining practice-led inquiry and theoretical findings challenge the ways in which the negative as a structure unit repeats itself?

The research will adopt a bricolage methodology (Kincheloe, 2001) using its interdisciplinarity to alter and dissolve disciplinary boundaries. This includes combining theoretical and practical frameworks from weaving (technical structure construction), architecture, mathematics (fractal geometry) and philosophy (new materialism). For De Certeau (1984), bricolage is “the poetic making do”, that which lends itself well to unite poetic and praxis. Practice is crucial to the research, and will lead the inquiry to build on existing theories and in turn, inform critical thinking. Simultaneously, a speculative design approach (Dunne &#38;amp; Raby, 2013) will provide ways of imagining original possibilities to evaluate the research methods. These include:

(1) drawing, photography, projection of woven samples – physical observations of the negative under various resolutions (0, 1, 2D).&#38;nbsp; 

(2) Nondestructive techniques (X-ray, ultrasonics/thermography), 3D printing and modelling&#38;nbsp; – digital visualisation / cross-sectional imaging.

(3) weaving – structures and techniques on dobby and Jacquard looms including 

plain weave: foundation of all structures

leno: stretchability and structural specificity

double-cloth: layers are woven simultaneously

damask: complex in-woven design.

(4) reflective narrative – note-taking and post-making creative reflective writing.

A multiple-case study design (Yin, 2018) will shape the blueprint of the research project. The methods will be used jointly across three case studies. These will focus on developing my understanding of the negative and testing my findings. 

Firstly, the identification phase will manipulate and measure the negative under different resolutions (physically and digitally), using found fabrics sourced from the Warner Textile Archive and the Design Center Chelsea Harbour. This thorough body of work will be mapped to provide a visual sense of the meaning of the negative. Secondly, the experimental phase will cross-compare the new figuration of weave architectures to the ways others have documented structure construction. Finally, the testing phase will attempt to design and weave structures based on the negative space inquiry. This will question and challenge the idea of repeat on a mechanical level.

In the drive for efficiency, the craft of weaving has been entirely transformed to binary writing. Weavers have become a design tool as opposed to a creative agent, limiting their comprehension of cloth’s appearance and behaviours off-loom. By starting from the negative, this practice-led study uniquely addresses the urgent need for a new weave structure visualisation. Insights from the study could help shape a new textile language, one that could signal properties and qualify qualities of woven textiles prior to construction, reducing sampling waste during the design process. While this thesis doesn’t intend to impose a new way of designing woven textiles, it instead opens a window onto a new realm of thinking and making textiles intelligently, in which practice and theory play in unison.

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;&#60;img width="62" height="50" width_o="62" height_o="50" data-src="https://freight.cargo.site/t/original/i/0f18638552eef6575cea14e0f821f9fe6a53ce3e71d728852e90bd9429677bd6/Screenshot-2023-02-22-at-12.35.32.png" data-mid="171215107" border="0" data-scale="5" src="https://freight.cargo.site/w/62/i/0f18638552eef6575cea14e0f821f9fe6a53ce3e71d728852e90bd9429677bd6/Screenshot-2023-02-22-at-12.35.32.png" /&#62;</description>
		
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	<item>
		<title>Who cares about holes? </title>
				
		<link>https://arianefourquier.com/Who-cares-about-holes</link>

		<pubDate>Tue, 21 Feb 2023 15:49:50 +0000</pubDate>

		<dc:creator>arianefourquier</dc:creator>

		<guid isPermaLink="true">https://arianefourquier.com/Who-cares-about-holes</guid>

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WHO CARES ABOUT HOLES? MATTER AND ITS ABSENCE IN WOVEN TEXTILES

“Nothingness. The Void. An absence of matter. The blank page. Utter silence. No thing, no thought, no awareness. Complete ontological insensibility” (Barad, 2012). There, nothingness is nothing more than matter in action. In this study, the blank space is considered from the perspective of the hole in weaving as an entity. Drawing on the thinking of Karen Barad and Johnny Golding’s reflections on emergence, this paper explores the reality of the hole (structure unit) in weaving and its role in the reality of the whole (woven cloth). As an absence, a ‘not-something’ as opposed to a ‘nothing’, I interrogate our comprehension and use of this ever-changing site of passage. Can we capture the woven hole? And in so doing, what is our intention? While we might not intelligibly comprehend why and how the hole is inherent to woven cloth’s existence, a reflection behind its role might open new structural potentials.

PARADOXICAL LINES

Woven cloth construction relies on the intertwining of vertical and horizontal threads — respectively known as warp and weft. As such, the practice of weaving might be defined by its organised, hierarchical spatial structuring — one that is mechanically, socially, culturally and politically tense. It is a binary approach to being, in which a perpendicular entanglement of threads allows for the cloth to exist. When creatively thinking and experimenting with elements, weavers solely rely on this dualist way of constructing cloth, resulting in complete dependence on machine specifications. However, holes, those blank spaces and areas of nothingness which neighbour warp and weft are part and a part of the cloth. In the very construction of textiles — although their role seems evident — their inherent presence has been disregarded.

“There can be no knots without the performance of knotting” (Ingold, 2015). Quipu (see Figure 1), an Inca recording instrument made of knotted strands of yarn, could be considered as the first smart textile systems. This Andean apparatus was used to communicate data between people. Worn or carried, the numeral systemic ornament constituted a specific number of knots whose separation and distance conveyed an intended meaning. Spaces in-between knotted matter would mediate a message, from tax calculation to calendrical representation. By changing the trajectory to convey data, the unfolding and refolding of these threads had a sense of becoming. Deleuze and Guattari (2004), writing on the ways in which bended lines emerge, state that: “Always in the middle: one can only get it by the middle. A becoming is neither one nor two, not the relation of the two, it is the in-between.” 

To begin, let us contemplate the nature of textiles and more precisely, weaving. In a wonderful way, woven cloth is fundamentally antithetical. It is chaste and erotic, covering and revealing, divine and mundane all at once. Radically, woven cloth embodies a disturbing and unintelligible conflict. Simultaneously rigid and fluid, chaotic and ordered, textile thinker Claire Pajaczkowska (2005) remarks that “it is a grid, a matrix of intersecting verticals and horizontals, as systemic as graph paper, and yet it is soft, curved and can drape itself into a three-dimensional fold.” Continuously chasing “the dream of symmetry” that science and philosophy have desperately clung to ever since the eighteenth century, this binary mode of doing transcends woven textiles’ construction insofar as the duality of their meanings. &#38;nbsp;&#38;nbsp; 


Beyond this concerning paradox, the author points out humans’ obscure relationship and experience of textiles as ‘things’ or ‘stuff’. The latter, tightly linked to its French origin ‘étoffe’ (a voluptuous version of ‘cloth’) appears to be a reductive “term for generic “thingness”, unspecified materiality, in a way that eloquently represents [...] the threshold between” (ibid). This “threshold” reflects the space established between human and cloth: an “imaginary-real” (Golding, 2020) liminal site of passage (see Figure 2). Seen as an ‘encounter’ (Heidegger, 1962) woven cloth might represent the “fission and fusion between subject and object”, one that is “at the nuclear core of textiles.” (Pajaczkowska, 2005). 


In The Courage to Matter, Golding (2020) reflects on Heidegger’s lectures regarding the ‘logic of technē’, for whom technology would have no association with the machine itself. She writes, 

“[...] it was all about (1) the ‘grasp’, both as in comprehending and as in reaching out or being pulled toward ‘the there’ (and vice versa, ‘the there’ being pulled toward being); and (2) the fact that the 20th century (for whatever reasons) named an epoch, not unlike had occurred in ancient Greece when, according to Heidegger, this way of ‘grasping’ (in-)formed the whole of reality and provided its framework.” (ibid)

 
Stepping back, delving deeper into the ‘technē’ of weaving and the hole as a structure unit I realise that I have conceived it as a hollow entity, an in-between space, a framed void that is bordered by those allowing its existence, warp and weft. Could the hole reflect “channels between visible and invisible realms” that “situates textiles as active mediators”? (Golda, 2019)
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	<item>
		<title>With trust </title>
				
		<link>https://arianefourquier.com/With-trust</link>

		<pubDate>Tue, 06 Sep 2022 13:49:14 +0000</pubDate>

		<dc:creator>arianefourquier</dc:creator>

		<guid isPermaLink="true">https://arianefourquier.com/With-trust</guid>

		<description>
WITH TRUST

‘With trust’. Confidence takes its Latin root from con- (with) and fidere (trust). Widely related to the feminine gender, and spoken extensively in self-help books, confidence, expressed by Michel Foucault, is a ‘technology of self’, one that implies a work on oneself: “their bodies and souls, thoughts, conducts and ways of being, so as to transform themselves”. 

Self-confidence has become an urgency. Gliding through a room, all eyes on it, confidence is looked at with envy and as a glamorous state of being. However its absence, negative and problematic leaves space for doubt, insecurity and self-depreciation.

The statement “so as to transform themselves”, labels confidence as a process of (self-) transformation, a form of changing and exchanging one way of being to another. It marks a transactional action. Besides, etymologically, change and exchange share the Latin cambiare (change) meaning ‘to barter’. This linguistic root implies a mediation that negotiates the boundaries of this transactional process. Carrier and mediator, cloth has the capacity to change our way of being, thinking and behaving.

Giving us agency and assurance, clothes sometimes dictate our confidence. In textiles and fashion, I wonder what a cloth physically shares with confidence. As a day goes by, fabric moves, touches, creases, flows and drapes itself around the body. Every gesture engenders the mediation of the stories of our actions. As a result, folds and creases emanate from this dance, which to me, reflects the concept of confidence.

Never standing still, confidence, much like folds, cannot be seen as an end point. Rather, it is a destination, an itinerant journey and a back and forth effort to transform and renew a state of being. My thinking behind comparing confidence to a fold takes its root from the constant action, constant change and in flux status of a fold. It transforms itself without any mediation and reflects confidence as change. Simultaneously touching and being touched themselves and by themselves, folds carry a form of ‘self-assurance’, ‘self-worth’, ‘self-belief’ and ‘self-efficacy’, all portrayed by our walk, posture and body behaviour. As opposed to creases, folds never stop forming shapes. Their purpose isn’t to leave a mark or a trace of passage. Rather, they evolve in a choreographic manner, moving matter and here confidence, from one point to another.

A quality to gain? An achievement? A transformation of the self? Confidence could be regarded as, much like a fold, the narrative of the evolution of the self, one in which the idea of moving forward is allowed to go back on itself. The beauty industry has damaged our idea of confidence and set high standards of body aesthetics for women to reach, implying that confidence resides in slim and slender bodies. Cosmetics, diets, plastic surgery have been a means to an end, where ‘the end’ is a confident mindset. In 2008 the Dove Self Esteem Fund ended its advert with the written words: “talk to your daughter before the beauty industry does”. Setting impossible standards, the beauty industry in fact saturates the possibility for women to reach them, questioning if confidence is a quality to gain.

The attractiveness of confidence, an appealing effortless behaviour makes us believe that it can be trusted. Elusive and mostly lost as fast as it was gained, confidence might cloud our appraisal of the thing that we can actually do and the skills we do possess. The mantra ‘fake it till you make it’ shows it well. Perhaps, behind the glamorous and invincible portrait of confidence, it might be wise to pay attention to simpler ways of being and teach ourselves to love doubt, uncertainty and irresolution.

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		<title>Woven</title>
				
		<link>https://arianefourquier.com/Woven</link>

		<pubDate>Tue, 14 Sep 2021 09:09:42 +0000</pubDate>

		<dc:creator>arianefourquier</dc:creator>

		<guid isPermaLink="true">https://arianefourquier.com/Woven</guid>

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	<item>
		<title>Negative</title>
				
		<link>https://arianefourquier.com/Negative</link>

		<pubDate>Wed, 22 Feb 2023 13:54:56 +0000</pubDate>

		<dc:creator>arianefourquier</dc:creator>

		<guid isPermaLink="true">https://arianefourquier.com/Negative</guid>

		<description>
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