Pop-up Exhibition: Q-Weaving

Throughout three different courses in digital weaving during the fall semester in 2014, students at Fine Art brought their own ideas to investigate through their extended knowledge and hands on practice. A pop-up exhibition 21 and 22 November in Strømgaten 1 presents the results of their work.

21 November 1pm - 4pm
22 November 12 - 4pm

The big drawing room and project room, 2. floor at KHiB in Strømgaten 1

Introduction and acknowledgments.

The projects and works presented in this catalogue are all results from the workshops undertaken during the fall semester in 2014 at Bergen Academy of Art and Design. The title Q-WEAVING came up as a reference to the term "KU-based education" KU is Artistic Research in Norwegian and KU is the word for COW. Got it? Anyway: This documentation should show that the term KU-based teaching (and learning) has some consequences in reality.

Throughout several courses, the workshops had different basic content, and the students brought their own ideas to investigate though their extended knowledge and hands on practice. For the course entitled SCREEN & SENSES, digital as well as analogue drawing tools were utilized in order to find new ways to develop a personal visual language for further experiments in their chosen material and techniques.   The next course, DIGITAL WEAVING had participants from both KHIB departments, exchange students and the KUNO and CIRRUS networks. On top of this, the three "life long learning" candidates from Norway were able to update their knowledge and give back experience from their art and design practice. The last course, CHROMATERIA for the BAKU-1 group attracted several students who had a common interest in the textile subject area.

Weaving as a medium has a very long history and a wide range of specialties, within the art, as well as the design field. The jacquard technique with the use of punched cards invented in 1801, represents a starting point for all computer systems. During the latest decades, the digital version of this technique has been developed and has changed the standard for designing and sampling within the weaving industry.

The Norwegian invention TC-1 & 2 have lately bridged the growing gap between the commercial and artistic use of weaving. These looms are now spread worldwide and have given textile artists and designers access to similar possibilities in a small scale on a manual basis. KHIB is lucky enough to have two looms of this kind. Together with the analogue looms and computer-based shaft-looms we are able to take advantage of a wide range of tools.

Additionally we are able to co-operate with the Norwegian company Innvik Sellgren AS who have allowed the students and staff to weave out their projects on a large scale. Their staff and designers have always been generous in their use of time and their sharing of knowledge. For this current project, designer & textile artist Kristina Aas (former MA-student from KHIB) has been extremely important in the preparation of the files and assisting during the weaving process.

Another Norwegian company KRIVIVEV was also able to weave out samples on their jacquard during this semester. A third (and biggest) company, Gudbrandsdalens Uldvarefabrik AS, sent their designer to the workshop to learn more about weave construction.

From all the interest and active participation there should be no doubt: knowledge on weaving is in demand! The question is, how to meet this interest and organize the resources required? There are no easy route to gaining this knowledge. I am confident that the students involved can confirm that, but I am also convinced that these courses should be as open as possible, for those of all levels and varying motivations. The context and concepts should of course, be a subject for refection, but the importance of knowledge and training remain. Understanding of weaves and principles of building motives as part of the construction have caused a lot of frustration for some, but also moments of happy enlightenment. When weaving out in Innvik, we could share those feelings, but first of all we were very proud of the students hard work in advance, giving a number of exiting results.

On behalf of all the staff I would like to thank all involved for their positive contribution and congratulate the students with the exhibition and this catalogue. I wish you all the best in your ongoing process!

Jon Pettersen

Associate professor


Published: 11/20/2014 by Kjetil Helland Updated: 3/19/2015 by admin