The Fragments to Fabric exhibition showcased my creative work, where I drew inspiration from fragment shapes for hand embroidery designs. With the support of the gallery curator, Ruby Hodgson, and Special Collections and Archives Manager at Goldsmiths Library, Hannah Stageman, the installation of the exhibition took just one day.
Planning and installing the exhibition involved careful thought and attention to detail. I had selected my samples and finished pieces to display, mapping out how they would be arranged. After my exhibition proposal was accepted, I completed a double-sided wall hanging using samples I had produced previously. It was hung in the exhibition to allow visitors to view both sides. A couple of samples, for example a batik sample on silk, also looked good from both sides and these were hung to demonstrate this. I used the gallery’s hanging system, referencing my plans throughout the installation process.
I had designed the exhibition for the gallery after researching venues, as part of coursework for the certificate Hand Embroidery Skill Stage 4, studied for with the School of Stitched Textiles. To develop the concept, I chose 15 samples from the Goldsmiths Textiles Collection that reflected the techniques or design styles in my contemporary work. The display of collection samples was the first part of the exhibition to be installed, in display cabinets which are external to the main gallery, showcasing pieces that complemented each other. Some were pinned to the back of the cabinets, while others rested on glass shelves.
The display cabinets were installed first. Image taken during install by Claire Frampton.
I wanted to connect my work with the history of textiles at Goldsmiths, making the collection accessible to visitors. More information about the collection can be found under the Goldsmiths Textile Collection and Constance Howard Gallery VADS website.
Inside the main gallery, my work was displayed in roughly chronological order. Showing the development of my design ideas. Five textile samples were placed on a long vitrine, and a further five, along with an A4-sized piece, were suspended with knotted opaque filament, giving the illusion of floating in mid-air. A framed batik piece was also hung using the same technique. Two large textile hangings were mounted on dowels.
Five textile samples on a long vitrine, before the lid is installed. Image taken during install by Claire Frampton.
In addition to textiles, I exhibited two mosaics and a painted plate on gold plate holders, along with a freestanding painted bowl each on a white plinth. The plate and bowl were arranged next to the window, therefore visible to people on street level looking down through the basement windows.
Plate arranged next to the window. Image taken during install by Claire Frampton.
An oversized double-sided necklace was arranged on a mannequin in the middle of the gallery. Originally designed to be worn, I had planned to hang it from the gallery rig; however, it was felt that a mannequin would be appropriate.
As a final touch, ceramic fragment pieces were arranged around the edges of the gallery, to give a sense of the design inspiration, and this gave a sense of completion.
It was great to see my work displayed in an exhibition- approximately a year since making the original plans. It’s amazing that gallery visitors can see the pieces in this context, in relationship to each other. Installing the exhibition made my plans a reality, and I didn’t feel the need to make any drastic changes along the way.
For more information about the exhibition and links to book workshops, click here: Fragments to Fabric | Goldsmiths, University of London
Claire Frampton, Artist