Seamless: the digital in design.
Museum of Architecture and Design,
Ljubljana, Slovenia.
19th September – 3rd November 2013.

Brezšivno: digitalno v oblikovanju.
Muzej za arhitekturo in oblikovanje,
Ljubljana, Slovenija.
19. september – 3. november 2013.

Participants/ Sodelujoči.
Louise Adkins
Kirsteen Aubrey
Mark Beecroft
Keith Brown
Fabrizio Cocchiarella (+ Emma Hayward)
David Crow
Vanessa Cuthbert
Joe Duffy
Michael Eden
Jon Hannan (+ Robert George)
Steve Hawley
Toby Heys (+ Robert Saucier & Oliver Blank)
Saoirse Higgins
Jonathan Hitchen
Nigel Hurlstone
Hilary Judd
Alice Kettle (+ Huw Wahl)
Amanda Langdown
Jane McKeating
Joe McCullagh
Monomatic (+ Nick Rothwell)
Sally Morfill
CJ O’Neill
Alex Russell
Ulysses Sengupta
Annie Shaw

Senior Lecturer, Design, Textiles in Practice.
Dr Nigel Hurlstone is an artist and educator whose practice is firmly placed within the genre of embroidery; be that hand or machine based processes, for interiors and gallery contexts. He creates both two and three-dimensional artworks that increasingly examine the relationship between cloth, light, space and the printed image.
Nigel is currently a Senior Lecturer on the Textiles in Practice Programme at Manchester School of Art. Previously he was Programme Leader for BA (Hons). Embroidery at Manchester, and started the BA Drawing and Applied Arts programme at the University of the West of England Bristol. He was also subject leader for Embroidery at the Glasgow School of Art. Nigel is external examiner for the MA in Design and Fine Art at the University of Hertfordshire and maintains external links to many UK educational institutions through panel membership for programme validations and reviews.
He exhibits both nationally and internationally and has work in many public and private collections including the private art collection of ‘Chanel’, Paris.

Imagine.
This work explores the potential of stitch to change the familiar aesthetic of digital print; allowing the cloth to be inhabited and changed into low relief, textural surfaces as oppose to the traditionally encountered flat output. It particularly focuses on the re-working of digitised archival photographs (pre-1930’s) and the eventual erosion of the image common to printing technologies of this period. The gradual recession of the photographic image is paralleled in the stitching methodologies that are concerned with the layering of the printed surface with sheer overlays and intense double needle stitching. These processes serve to patternate and re-configure the cloth into denser woven-like surfaces in which metallic and holographic threads bounce light across the surface. The resulting cloth is a hybrid surface specifically designed to create a seamless transition between the printed image and stitched embellishment that references some kind of curious archaeological site in which the image is either released or concealed as a liminal presence.
The scale of this work is designed specifically to be epic in intent (4 x 3 metres). Traditional domestic portraiture is re-presented as if viewing a projection in a movie theatre. However, this image become akin to experiencing the flickering and fragile celluloid world of the cinema; it’s narrative may be just as telling but unarticulated by voice or plot.



Nigel Hurlstone

Višji predavatelj oblikovanja, tekstil v praksi.
Nigel Hurlstone je umetnik in pedagog, katerega dejavnost spada na področje vezilstva, bodisi ročnega bodisi strojnega. Njegovi izdelki, ki so dvo- ali tridimenzionalni, raziskujejo razmerje med blagom, svetlobo, prostorom in tiskanimi podobami. Uporabni so tako za notranjo opremo kot tudi za galerijske kontekste. Trenutno je docent za oblikovanje tekstila v programu Tekstil v praksi na šoli Manchester School of Art. Pred tem je bil vodja dodiplomskega študija vezilstva v Manchestru, bil pa je tudi pobudnik dodiplomskega študija risanja in uporabne umetnosti na Univerzi West England v Bristolu. Delal je tudi kot vodja smeri vezilstva na šoli Glasgow School of Art. Je zunanji izpraševalec za magistrske študijske programe oblikovanja in likovne umetnosti na Univerzi v Hertfordshiru in vzdržuje povezave s številnimi britanskimi izobraževalnimi ustanovami kot član komisij za potrjevanje in pregledovanje študijskih programov. Razstavlja tako na nacionalni kot na mednarodni ravni, njegovo delo je zastopano v številnih javnih in zasebnih zbirkah, vključno z zasebno umetniško zbirko Chanel v Parizu.

Predstavljajte si.
To delo raziskuje potencial šiva z namenom spreminjanja uveljavljene estetike digitalnega tiska. Tkanina je »naseljena« in spremenjena v nizek relief; taka teksturna površina pomeni nasprotje tradicionalni gladki površini, kakršne smo vajeni. Poleg tega se to delo posebej osredotoča na obdelavo digitaliziranih arhivskih fotografij (pred l. 1930) in morebitno erozijo slike, problem, s katerim so se spopadale tiskarske tehnologije tega obdobja. Odslikava postopne erozije fotografske podobe je vzporedna metodologiji vezenja, kjer se na potiskano površino nanašajo tanke plasti šifona in gosti dvojni šivi. Namen teh procesov je vzorčiti in preoblikovati blago v gostejšo, tkani podobno površino, na kateri kovinske in holografske niti lomijo svetlobo. Rezultat postopka je blago s hibridno površino, ki je bilo zasnovano z namenom, da ustvari brezšiven prehod med tiskano podobo in vezenim okrasom, pri čemer spominja na nekakšno nenavadno arheološko najdišče, v katerem je podoba bodisi jasno vidna bodisi zakrita kot liminalna prisotnost.
Izdelek je namenoma zasnovan v velikih dimenzijah (4 x 3 m). Običajen portret je na novo predstavljen kot kinematografska projekcija. Vendar je ta slika postala podobna utripajoči in krhki podobi, ki nam jo ponuja svet celuloidnega filma, njena pripovednost pa lahko odkrije ravno toliko kot resnična zgodba, čeprav je nema.

n.hurlstone@mmu.ac.uk
artdes.mmu.ac.uk