January 16 – April 12, 2016
Naked Craft looks to contribute towards a better understanding of continuity and change within the discipline. It is evident that despite the cultural diversity and obstacles that influence craft making in Canada, in Scotland, and around the world, there are many similarities and shared values that influence the craft sector. In Canada we’re putting forth a concerted effort toward public outreach and new ways of presenting craft to audiences as diverse as the communities of craft makers whom we support. With an increase in the awareness of contemporary craft and an understanding of its value, comes the potential of increased sales, consumption, recognition and promotion for both makers and their objects. As such, both the individuals creating craft as well as those consuming it are rewarded with culturally enriching experiences, which support the local economy and encourage a focus on high-quality craft objects that are lasting and well made.
The Naked Craft exhibition strips ideas of craft back down to four sub-themes that bridge the past and the present, Old Scotland and New Scotland, traditional and changing ideas. The following categories are intended to form a creative, open-minded focus on exploring disciplinary, theoretical, conceptual and methodological approaches to the discipline. This project provides a novel and timely approach to issues of production and consumption of craft from a range of historical and contemporary perspectives.
Under the theme of Do-it-Yourself: DIY, objects are related to the long and rich history of small craft and home improvement projects, of makers making with an ethos of self-sufficiency. In Down and Dirty: politics and materials the selected works highlight a personal or communal attachment with place, emphasize a sense of loss or displacement, or highlight renewed engagement or innovative development. Through New Positions; the work of current generations of makers, of all ages, who embrace new methods of craft production, and new terminology such as craftivism, yarn bombing, and sloppy craft are profiled. Finally, Tooling Up: new technologies and economies, contrasting a selection of makers who are exploring their tools and materials from new perspectives, putting into place challenging processes, interpreting new ways to understand their materials, and constructing new approaches and tools for their own.
