Loop, Knot, Braid

An Exploration of Construction Through Craft

What initially began as an investigation into the concept of, ‘weaving light’ has slowly began to evolve into a broader exploration of construction methodologies. My project, ‘Loop, Knot, Braid’, seeks to push the boundaries of traditional craftsmanship by examining fundamental textile-making techniques through a contemporary lens. Instead of focusing solely on specific crafts, I aim to distill the core principles of construction - looping, braiding and knotting - allowing for new interpretations and sculptural possibilities to be created. The starting point for this project was initially to investigate ways in which I could combine bobbin lace making with basketry in order to create 3-dimensional sculptural forms. To me, both bobbin lace and basketry encapsulate the act of looping, knotting and braiding and so I hope to use their historical ties to help underpin my research.

At the heart of this project is a desire to understand the inherent language of making. By stepping away from rigid craft classifications, I can uncover the potential of these techniques beyond their conventional applications. This approach not only respects the historical traditions of textile arts but also offers fresh perspectives on form-finding and material exploration. A knot is a fastening or intertwining of material that can be used for structure, decoration or function. A loop is a closed curve or bend that allows for continuous movement and flow. A braid is an interweaving of strands that creates strength and flexibility. These three fundamental actions form the foundation of numerous textile and fiber arts traditions, yet they remain universal principles of construction across disciplines.

By engaging with these methods at their core, ‘Loop, Knot, Braid’ is not just an exploration of textile techniques but an inquiry into the very essence of making. Through this approach, I seek to create new contemporary interpretations that honour the past while reimagining the possibilities of craft in the present.

I hope to use this blog to catalogue my research, inspiration, thoughts and writings as the project progresses and will be sharing updates and insights into the work as it develops. This is very much a work in progress so if you would like to get involved please get in touch via Instagram: @mayatoddstudio

Find out more about Bobbin Lace and Basket Weaving below:

Why Bobbin Lace?

Lacemaking, particularly bobbin lace, has a long and intricate history, originating from techniques that involve manipulating threads into openwork patterns. It evolved from earlier textile methods such as netting and sprang - both of which share similarities in structural construction.

Sprang, an ancient technique, involves the interlinking, interlacing or intertwining of warp threads that are fixed at both ends. Unlike woven textiles that rely on a weft thread, sprang creates fabric through the natural movement of warp threads, forming symmetrical structures that require no additional stabilisation. This early form of thread manipulation laid the groundwork for later lace developments, where the notion of “stitches in air” became a defining characteristic.

Bobbin lace, in particular, is constructed by twisting and crossing multiple threads wound around bobbins. Its various stitches - such as cloth stitch, half stitch, whole stitch and twist - allow for an intricate interplay of negative and positive space, creating delicate, lace-like structures. Different lace styles, including Binche, Chantilly, Torchorn and Flanders, have distinct characteristics shaped by regional traditions and materials.

Why Basket Weaving?

Parallel to lace-making, basketry is one of the oldest known crafts, demonstrating sophisticated techniques of interlacing fibers to create three-dimensional forms. Traditionally made from natural materials like willow, cane, or rush, basket weaving employs variations of looping, knotting and braiding - echoing the foundational principles of lace construction.

Both crafts share an emphasis on tension, structure and the act of making, reinforcing the conceptual basis of my project. By stripping back these practices to their most essential techniques, I can explore new sculptural possibilities that transcend traditional boundaries.

This project is generously supported by The Arts Council of Northern Ireland and The National Lottery.