Martin’s College in London: It takes time to get beyond the first obvious results – for example of no weave structures, weaving photographic images as they are. The Norwegian art and design colleges as well as individual artists and designers in Norway have had working experience with the TC-1 and TC-2 for more than 25 years now! So has the weaving lab of Central St. From my German perspective it would be a dream to be able to book time for TC2 weaving within reach of a train journey! Since the TC2 loom was developed in Norway, it is very noticeable how present the technology is here – with the TC-1 coming out in 1995 and the TC2 being launched in 2012. Aas now acts as multiplier and generator, as a hub, for making this woven prototyping technology more available to other interested artists.
For very large bodies of work there are still the possibilities offered by the Textile Lab at the Tilburg Textiel Museum in the Netherlands, or industrial mills which collaborate with external artists and designers. Aas invested in her own TC2 loom to expand both prototyping and realizing of artworks independently. Aas had graduated from the Art, Design and Music Faculty of Bergen University in 2011, with a focus on digitally supported Jacquard weaving.Īpart from her work in the design team at Kvadrat Innvik weaving company, she also began developing a masterly woven body of mostly multi-coloured, individual, photorealistic artworks with surreal connotations, as well as graphic interpretations of nature and 3-D hangings. Through Kristina’s profound competence and technical support, we all learned so much! Kristina D. For the weft, there was a great variety of colours and weights, mainly in wool. Aas in Bergen: She had prepared the TC2 loom with her assistant Mariell with alternating B/W warp threads in wool, on one warp beam. The first residency was in a small group in the studio of artist Kristina D.
And I had a notion of exploring the possibility of floats, which – not only in shaft weaving – is something to be mostly avoided in weaving! So, I traveled with two quite open ideas about what could be the basis of my research and sampling: I had scanned some of my very recent pencil, ink and watercolour drawings. My approach for the art residencies was to work within the setup and materials offered at the respective studios. This was long before the founding of Fab Labs, with their general and open source access to new machine technologies for makers! And I was aware of the visionary Vibeke Vestby, who had started as a shaft weaver herself – and had teamed up with Tronrud Engineering to develop a hand-controlled, digital jacquard loom for prototyping. In the mid-1990s, I was studying and teaching at Goldsmiths College / University of London, and became aware of American textile art, such as Lia Cook’s image based woven pieces: She made them on a digitally supported jacquard loom – the Thread Controller Loom TC-1. But my involvement with the TC2 was then more on an administrational level. In 2016, I instigated a successful application for acquiring a TC2 loom for the design department of HAW Hamburg, where I hold the professorship for textiles. A pixel is a thread! So far, my interest and insight into jacquard weaving had been rather conceptual, based on critical theory. The jacquard loom technology with its individual thread control is the predecessor of computer technology – 150 years prior to the computers of the 20 th century. Renata shares her learning, impressions and experiences…Īrt-based practices of making and researching and making by means of different work series…Ĭoming from the art-based shaft weaving with its thinking and noting in groups of threads, I followed two residencies in Norway focusing on digitally-supported jacquard prototyping. In September 2021, Renata Brink, artist and Professor of Textiles in the Design Department at HAW Hamburg (Germany), was with us at Digital Weaving Norway as a part of the two Prototyping Jacquard residencies in Norway.
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