Basically I was lost. I ended up surrounding the objects I was producing with a tailored-for-the-occasion critical frame, rather than creating those objects because of a firm critical position. DIY notions, hand-made against globalization, etc were too broad issues to support my work. My intention was not clear.

On the third term I have decided to come back to the beginning of everything: why is it that I love this craft. What I enjoy the most is to create the tatted pieces. I don’t care so much about the final products themselves (which I loosely piled up all together right after completing them). As a result of this, I started making some drawings of my hands creating these pieces. The loops and lines that are formed in the process had a lot of potential that I disregard from the beginning. Tensions were resolving the space, in that they create their own language. They are neither delicate tatted [boring] pieces like a doily, nor sturdy sailor-man-like objects. When I suspend them in the air they become something different. Something unique.

The process of Tatting is being explored through the articulation of space, creating a language that communicates the real reasons by which I was ever drawn to this handcraft: The sheer pleasure of Tatting.

During the first term I was interested in artists who were working around DIY:
Sabrina Gschwandtner, who created “knit-knit”, a magazine dedicated to the intersection of traditional craft and contemporary art. Also Frau Fiber (Carole Lung), and the way she encourages the audience to emancipate themselves from the global garment industry by learning the skills to produce your own garments.

For the second term I was lucky enough to work with Anne Wilson in the construction of “Topologies” (“Out of the ordinary: spectacular craft” exhibition, London V& A Museum). The conversations that I had with her around my work and my intentions were vital for the development of my critical position. The constructivism of Naum Gabo in his kinetic sculptures was my main influence during the summer term. When it comes to keep on exploring the approaching to modern art though art Susan Collis interested me, specially her seemingly disregarded cloths, or overalls (“Don’t get your hopes up” exhibition at Seventeenth gallery, London 2007).