Features
Knitting and other revolutionary acts
Clare Bryden
As competing political voices reach election crescendo, could it
be that artistic, home-spun forms of activism are more positive and
quietly persuasive? Clare Bryden hails the rise of
'Craftivism' and explains how knitting can change the world.
On 15th October 2014, the evening before the Exeter Incinerator
was inaugurated, a colleague and I launched a small art exhibition
in a café gallery space located almost directly downwind of
it.1
Our Particulart exhibition comprised 3D knitted representations
of a series of particles that the Incinerator would inevitably
emit, such as carbon dioxide, and that it should not emit, such as
toxic dioxins, alongside a series of photographs commissioned from
a local photographer.2
Our aims were to raise people's awareness of the Incinerator's
potential impact on the environment and human health; and to
encourage Devon County Council to ensure that it is operated
properly to minimise the risk of harmful emissions, and to develop
a coherent and transparent waste strategy.
The particle design followed the ball and stick model and the
CPK colour scheme used in chemistry: for example carbon is black,
oxygen is red, chlorine is green, and sulphur is yellow. The atoms
were stuffed with those plastic bags that charities keep dropping
through the letterbox, and the particles stiffened with coat hanger
wire.
The materials used are not natural and beautiful; the yarn is
manufactured from oil rather than natural fibres, and the plastic
bags and wire are, well, plastic bags and wire. Yet most were
preserved from destruction by incineration, and reused with a
creative purpose.
A TACTILE JOURNEY
Knitting can reference the material relationship between human
beings and things, the handmade, and the clothing which sits next
to the skin and expresses our personalities. The particles are not
useful, unlike woolly jumpers, socks or tea cosies. Yet crafted
items do have a value that stretches to more than just their
utilitarian function, and Particulart instead took the maker and
the audience on a journey from data and scientific thought to the
more tactile areas of the brain.
It is difficult not to hold a particle without squeezing the
atoms, and visitors to the café often touched them as they hung on
the walls. The knitted particles are homely, comfortable,
approachable, innocent, and non-threatening. A 3D knitted
representation of a dioxin is cuddly, unlike the toxic
reality.3
Although the particles do represent the atomic and molecular
building blocks of the universe, Particulart is an example of the
art of ideas rather than the art that imitates the world. It
primarily reflects on the culture and society in which we live,
exploring the issues and effects of consumerism and accountability:
the production and treatment of waste, the interactions between
humans and rest of our environment, and the disjunct between
science and culture.
RISE OF CRAFTIVISM
In its use of knitting as a medium, Particulart is also an
example of 'craftivism'. In 2003, the writer Betsy Greer coined
this term as a combination of craft and activism, defining it as 'a
way of looking at life where voicing opinions through creativity
makes your voice stronger, your compassion deeper & your quest
for justice more infinite'.4
Traditional campaigning methods are often negative ('Down with
this sort of thing!'), confrontational, and occasionally
destructive. As a positive force, craftivism is becoming increasing
popular as a form of protest.
In knitting, my colleague and I had found a gentle way of
creating an opening to share our message, and engage people in
discussion. Together we could explore various ideas, and find that
we had voices saying 'we can do something', and that we could be
among those voices.
Alongside the words of Jesus and the prophets, scripture
describes many extraordinary actions that are very similar to
modern visual and performance art. For example, Mark places Jesus'
cleansing of the Temple within the context of his representational
cursing of the fig tree that bears no fruit (Mark 11:11- 24).
Jeremiah visits a potter, who reworks a spoiled vessel into another
(Jeremiah 18:1-11). Ezekiel is told to shave his head and divide
the hair into three parts, one to burn, one to strike with the
sword, and one to scatter to the wind (Ezekiel 5:1-4).5 The prophet
imagines a new reality, whereas the prevailing culture is
interested only in implementation and sees imagination as a danger;
'every totalitarian regime is frightened of the artist'.6
SUBVERSIVELY GENTLE
The non-threatening nature of craftivism makes it all the more
subversive. Compare Banksy's spray-paint hole in the Israeli wall
giving on to an idyllic beach scene7 - it is biting humour, and
probably viewed by the authorities as vandalism, a stark political
message - with a cross-stitch representation8 - it has a quirky,
gentle humour, not 'in your face' stark political messaging.
Craftivism has picked up the colourful mantle of the court jester,
serving not simply to amuse but also retaining the ability to speak
truth to power with impunity.9
Craftivism also epitomises two quotes which have become almost
protest axioms: Margaret Mead 'Never doubt that a small group of
thoughtful, committed citizens can change the world; indeed, it's
the only thing that ever has.' And Gandhi: 'Be the change you wish
to see in the world.'
In 'Pink M.24 Chaffee', Marianne Joergensen wrapped a World War
II combat tank in pink and hung a pompom from the gun, to protest
against Denmark's involvement in the Iraq war.10 Volunteers from
Denmark, the UK, US and across the world knitted thousands of
squares. Working together to create an artwork that ridicules the
tank effectively transfers power from ordnance to people, affirming
a common resistance to war.
Wool Against Weapons brought thousands of people together to
knit a pink scarf in protest against Government plans to replace
the Trident nuclear weapons system.11 Hundreds were involved on 9
August 2014 (Nagasaki Day) when the full seven miles was stretched
between the Atomic Weapons Establishment's two sites at Aldermaston
and Burghfield, and thousands later gathered to wrap part of the
scarf round the Ministry of Defence. The scarf also boosted local
groups, who displayed their contributions by local landmarks in
advance; and further connections are being made through
re-purposing it as blankets for humanitarian aid in the UK, Africa
and Middle East. The organisers found that these vibrantly
creative, local and community aspects of craftivism were vital to
gaining news coverage of their actions.12
OPENING CONVERSATIONS
On a smaller scale, Particulart became a means of opening out
the conversation and creating a community of interest in Exeter and
on social media. There were interactions arising from both the
exhibition and its making: between the maker and the made, between
the particles and the photographs, between the exhibition and its
audience, and hopefully between strangers.
At the unveiling of his Gift Horse on the Fourth Plinth in
March, the artist Hans Haacke commented: 'It is an invitation to
make connections, but I would not like to give directions. I'm sure
there will be a diversity of responses. That is not only true for
this but any kind of art.'13 An experience of art arises not just
from the object, but also from the conversation about the
object.
When my colleague and I invited the Incinerator's Liaison
Committee to our launch, the conversation extended to the
construction companies, their PR, and local councillors. This led
to one of the most positive responses we had to the exhibition. One
of the subcontractors told us they were used to attending 'shouty'
aggressive protests, which did little beyond alienating them. Our
gentle protest made him much more interested in engaging, and he
liked the potential for educating the public.
SLOWLY DIGESTED
Craftivism also has an important interior aspect; it can be a
reflective action which changes the participant as much as it does
the world. The making of Particulart required presence in the
moment and attentiveness - there are no short cuts to knitting. At
times, it became a contemplative practice, each stitch its own
mantra. At other times, I found myself mulling over the issue we
were engaging with. While the act of assembling data and
information about the particles increased my knowledge, the act of
making led me into a deeper care and concern, and attention to how
the audience might understand the issue and respond to the
exhibition.
Engaging with Particulart required as much slowness as the
making of it, and an independent café, where time is slowed and the
audience is relaxed, is the ideal location for a serendipitous
encounter. As one surprised visitor commented: 'I was drinking my
tea, when I noticed a knitted particle on the table, then I
realised I was surrounded by organic chemistry.' Perhaps in
subsequent conversation and reflection, the message sunk in and was
digested and will be long-lasting.
For it is sustainable, long-term thinking that is what is needed
now, both as the message of protest, and unfortunately also as the
timescale of protest. My own concern for the environment has at
times occasionally dwindled to almost nothing. Continued extravert
negativity is wearing to campaigners and audience alike, and the
history of protest is littered with burned out activists. The
practice of craftivism provides a combination of interiority and
creativity, connections and relationships which is a vital source
of energy and encouragement for protesters, and hope for all.
Clare Bryden's Twitter profile reads 'Contemplative. Writer.
Data geek. Alto. Artist @ParticulartExe. Director @WebsitesAhoy.
Hon Fellow @UniofExeter. Storyteller @ TEDxExeter. Agitator. Human
being.'
NOTES
1 http://Particulart.org.uk/
2 http://benjaminjborley.tumblr.com/
3 http://www.who.int/mediacentre/factsheets/fs225/en/
4 http://craftivist-collective.com/about/
5 For more examples of symbolic actions, see Isaiah 20, Jeremiah
13, 19, 27-28, 43, 51; Ezekiel 2-4; Hosea 1.
6 Walter Brueggemann, The Prophetic Imagination, Fortress Press,
1978.
7 http://news.bbc.co.uk/1/hi/entertainment/4748063.stm
8
https://thatdeangirl.wordpress.com/2013/10/11/we-stitchangry/
9 William Shakespeare, The Tragedy of King Lear, Cambridge
University Press, 11 Aug 2005, available at
https://books.google. co.uk/books?id=lP6o8VPZgogC.
10 http://www.marianneart.dk/.
11 http://www.woolagainstweapons.co.uk/.
12 Personal communication from Kate Hudson of CND. 13
http://www.bbc.co.uk/news/entertainment-arts-31739574.