Jenny Hafer - Senior, Fiber major

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Materials and Process

  • Cotton fabric
  • Clamps
  • Wooden rectangles
  • Disperse dyes
  1. Again using the method of resist-dye known as clamping, as I was folding and clamping this piece I was consciously trying to manipulate this method of resist dyeing to form a border pattern. First, I folded the cloth in half twice to form a square.
  2. Then I folded the point of the square (the center of the cloth) diagonally, stopping a couple inches from the edge. I clamped the fabric and placed it in the yellow-green dye.
  3. Then I re-clamped it differently and placed it in the red dye.

Artist's Narrative

Each time I clamped and dyed I was careful to keep the interior and border pattern separate. I later went back into the border pattern to add more detail. The resulting border pattern can be described as horizontal and vertical reflection when looking at the entire piece of cloth. If each edge is looked at individually the border pattern is only vertically reflected, because all of the shapes are not horizontally symmetrical and are not all aligned on the same axis of symmetry. The border pattern is broken by the heart-shaped designs in the corner, but continues repeating on the next edge of the cloth. These heart-shaped patterns are diagonally symmetrical with the corner of the cloth.

Teacher's Comment

The field pattern of four design units covering the plane is surrounded by a border pattern that is linear in its symmetry. All of the patterning is created by selective clamping and dyeing. The fact that the border pattern manages to change direction to surround the field is effected through the design of the linear repeat to have a 45 degree angle at one end, which when reflected across an axis creates a right angle. Such design considerations were sometimes taken into account in Islamic art, but many times one finds that corners are "not resolved."

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