The traditional expectation of the craft maker is to produce the singular, silent work in a variety of fields of practice from ceramics to glass, jewellery to textiles, lettering or calligraphy and so on. Over the past ten years or so, however many makers are taking a new approach, and setting their work in the context of forms of performance. For example, the potter and writer Edmund de Waal collaborated with The Royal Ballet to design Wayne McGregor’s new ballet Yugen in 2017-18.
The idea of performance (the artist’s running and the record of her heart beat) was implicit and explicit in Karina Thompson’s work I hours’s production=1 ½ miles = 15 lengths for the exhibition Cloth and Memory (curated by Lesley Millar in 2013).
The Crafts Study Centre and the International Textile Research Centre at the University for the Creative Arts now seek 20 minute illustrated papers from makers, curators, practitioners, academics and all who are interested in the synthesis of craft in/as performance, so that we may establish a narrative of recent activity and achievements and ask whether this integrated approach is a marginal activity or a central guiding point for future craft making. The areas of interest may include, but not be limited to: the act of making; histories of recent performance in relation to craft; physicality and materiality; presence and absence; craft and documentation, and refer across the field of craft practices.
One page abstracts of the papers should be sent to Professors Lesley Millar and Simon Olding, the symposium convenors, by 14th December 2019 at email@example.com and firstname.lastname@example.org
Stage-Craft: Craft in Performance will be held at UCA Farnham on 20 May 2020. Ticket details and speakers will be published in the next CSC programme and on the CSC website.