One of my favourite elements of my final major piece was the material harvesting correlation between wool and cork, however I felt to truly secure my message, I would need to include an element of ‘wool’. This was something I was very skeptical of, as the use of actual wool, even possibly ethically and consciously sourced wool, would contradict my message. I needed to secure my narrative, but not compromise the message. Whenever, I think of wool, I think of jumpers and hats, which are all knitted or crochet. Initially I thought utilising the CNC router to create a knit pattern into the cork but that was far too complex and I felt would could compromise the material and overall aesthetic.
I had also thought about changing the function of the chair, rather than the aesthetic, to be that specifically for knitting, utilizing the ‘legs’ as storage for knitting supplies and unfinished pieces of work. However, this I felt this took away from the beautifully sculptured shape and switched main focus be that of the function, rather than the message from the aesthetic. Although this concept was haphazard, it led me to the conclusion to my final idea of hand-knitted antimacassar.
‘An antimacassar is a small cloth placed over the backs or arms of chairs, or the head or cushions of a sofa, to prevent soiling of the permanent fabric. The name also refers to the cloth flap 'collar' on a sailor's shirt or top, used to keep macassar oil off the uniform.’ (Hugh, 1977). Normally, antimacassar were either homemade by crochet or tatting, however for my adaptation of the 1940’s furniture decoration, I wanted to incorporate a knitted element that would add to the homemade, limited edition quality of antimacassar combined with the of knitting. The addition of the antimacassar the final element to articulate my aesthetic narrative, further telling the story of my contemporary piece.
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