POPPY GANNON
Foliage-Fabrics: Textile Arts as SocioEcological Strategies for Personal and Planetary Flourishing
Art & Philosophy BA Hons Dissertation
DOI 10.20933/100001379
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Foliage-Fabrics: Textile Arts as Socio-Ecological Strategies for Personal and Planetary Flourishing
Abstract
This disserta on discusses the poten al of tex le arts – as both material objects and corporeal prac ces – to become socio-ecological tools that a end to, care for and build intra and inter personal rela onships. This provoca on is situated within the theore cal framework of Donna Haraway. Together, we consider how tex le prac ces might connect us to the more-than-human and enact Haraway’s no on of becoming-with others. Paying a en on to the physical gestures that create tex le art reveals how the body, the self, materials and wider landscapes become woven together through embodied s tching prac ces at a me when these rela onships are under great strain and are of great importance.
Weaving various tex le makers/prac ces into this discussion exemplifies the myriad of ways in which personal and planetary healing can be enacted through tex le art. A case study of the Colombian weaving group Tejiendo Sueños y Sabores de Paz, a conversa on with tex le ar st Dianne Standen and perspec ves from my own embroidery prac ce, all illustrate how tex les have cra ed spaces of community healing, rehabilitated rela onships with damaged landscapes, prompted meaningful ecological encounters, and provided a means for processing complex emo ons. Haraway’s theories are threaded throughout and connect these different sites of inquiry. Other thinkers, such as Jane Benne , phenomenologists and ethnographers, are brought in to a end to the unique physical or cultural nature of a par cular prac ce.
Bringing together these diverse examples, alongside various philosophical analyses, uncovers the rich poten al for tex le arts to inspire gentle, crea ve ways of living-with and making our world. The findings of this study hint at the poten al for tex le art to inform sustainable prac ces and reimagine communal care in mes of environmental precarity.
List of Images
Image 1: [Ar st unknown, Date unknown]. Calado in process: a par ally unravelled coarse linen and the produc on of a s tch called Punto Espíritu. [Calado embroidery]. In PerezBustos, T. (2017) Thinking with care unravelling and mending in an ethnography of cra embroidery and technology. Revue d’anthropologie des connaissances [online], 11(1). Available from: h ps://journals.openedi on.org/rac/1542 [accessed November 2024].
Image 2: Gannon, P. (2024). Foliage-Fabrics: I hate to disturb you, but is anyone in there?. [Embroidered leaves].
Image 3: Tejiendo Sueños y Sabores de Paz. (2006). Mampuján Dia del Llanto 11 de Marzo 2000. [Tapestry]. Influx, The Missive. Available from: The Missive: Mampuján Dia del Llanto 11 de Marzo 2000 by... [accessed January 16,2025].
Image 4: Tejiendo Sueños y Sabores de Paz. (2019). Cartogra a de Mampuján. [Tapestry]. In Tacche , M., Chocontá-Piraquive, A., Quiceno Toro, N., Papadopoulos, D. (2023). Memorial repara on: Women’s work of remembrance, repair and restora on in rural Colombia. Memory Studies [online], 17(6). Available from: h ps://doi.org/10.1177/17506980231188482 [accessed January 16, 2025].
Image 5: Standen, D. (2024). [un tled]. [felted sculpture]. Photograph taken by Gannon 22nd June 2024.
Image 6: Standen, D. [Date unknown]. [Un tled]. [felted sculpture]. Photograph taken by Standen.
Introduction
In an age of ecological fragility and increasing disconnec on from our environments and bodies, this disserta on seeks to explore how tex le arts might offer methods of personal healing whilst fostering rela onships with the natural world. This work aims to challenge disembodied approaches to ecological thinking—those rooted in detached ac on and certain strands of posthumanism—by envisioning a mode of rela ng to and crea ngwith our world, firmly situated within lived experiences and embodied s tching processes. I propose that tex le arts and their ability to cra deep rela ons between the self, the body and material others, could serve as socio-ecological strategies for regenera ng fragmented connec ons with our worldly home.
Donna Haraway – a feminist biology scholar whose work spans and interconnects the fields of science, technology, feminism and animal studies – will be my key companion throughout this inquiry. Her concept of “becoming-with” others, as a means of naviga ng life on a damaged planet, will provide the backdrop for my discussing material rela onships in tex le making prac ces. Haraway regularly discusses weaving, employing it as an example of a sympoie c prac ce: a model for collec ve survival and flourishing that recognises the entangled agency of human and non-human par cipants in world building (Haraway, 2016).
Despite o en referencing tex le arts, Haraway never delves deeply into the material prac ces and gestures specific to each; an oversight which sidelines physical processes and risks relega ng weaving to the realm of metaphor. Foliage-Fabrics: Tex le Arts as SocioEcological Strategies for Personal and Planetary Flourishing aims to patch this underexplored area of material-semio c research by introducing an a en ve analysis of the corporeal processes of tex le handcra ing into Haraway’s theore cal framework.
Paying a en on to the tac le, rhythmic gestures of tex le arts throughout this text allows me to build my argument around the real, tangible processes of s tchwork as both an ontological site for transforma on and a touching-feeling-knowing prac ce in which
embodied knowledges are acquired and various forms of healing enacted. I am, most fundamentally, an embroiderer. My perspec ve is wri en with pricked fingers, grounded in detail and kno ngs.
The journey begins with an explora on of Haraway’s ideas, then moves to a close examina on of Calado—an embroidery technique that embodies delicate repair and care, an example of how s tching fosters reciprocal awareness between mind and fingers and cra s rela onships between materials and the body. From there, I turn to my own embroidery prac ce, briefly reflec ng on how embroidery has shaped my understanding of these themes. Next, I delve into a discussion about Tejiendo Sueños y Sabores de Paz, a Colombian weaving group for whom the mending proper es of s tchwork extend far beyond the material. They use tapestry making as a means of healing the trauma of displacement and violence, crea ng spaces for reflec on that are as much about mending the community as they are about the material being worked upon. I conclude with an interview with tex le/landscape ar st Dianne Standen as a prac cal, lived example of world-building through art.
My approach is inten onally conversa onal, touching upon diverse makers, prac ces, and theories to situate this discussion within the broader context of living together and engaging with a wide world. Each mode of s tching, living, and being explored in this paper brings its own unique contribu ons, requiring different theore cal examina ons to draw out their significance. I will therefore be introducing phenomenological perspec ves into my analysis of the mo ons involved in s tchwork so that we may be er understand the role of touch in prac ces that require delicacy and kinaesthe c skill. Ethnographic researchers provide the founda on for my discussion of Tejiendo Sueños y Sabores de Paz, in order to situate the group within their cultural and geographical landscape. Jane Benne ’s no on of “vibrant ma er” (2010) further enriches the conversa on with a willingness to break down subject/object divides and embrace the agency of tex le materials. My discussion with ar st Dianne Standen adopts a conversa onal format that interweaves interview exerts, images of her work, memories from my visit to her woodland sculpture walk, and reflec ons on the
environmental impact of her work – par cularly in rela on to Haraway. This choice embraces the vibrancy of group thinking-making and reflects the liveliness imbued into Standen’s prac ce by bringing together diverse par cipants, materials, and physical contexts. This liveliness aims to honour the rela onal nature of Standen’s art, whilst acknowledging that crea vity, as explained by Haraway, is not a solitary act but emerges through collec ve, interdependent processes. Together, these thinkers, makers, and tex le prac ces – alongside Haraway and insights from my own embroidery – will help illustrate the possibili es for tex le arts to enact healing on personal, communal, and ecological levels.
Ul mately, I hope to demonstrate that engaging our bodies, communi es and environments in tex le prac ces can cul vate deeper ecological awareness, evoke empathy and prompt meaningful discussions about our ability to enact earthly change; perhaps with a needle and thread. We begin by unpicking some of Donna Haraway’s key contribu ons to my methodology and theore cal framework.
Warning: this disserta on is wri en by an embroiderer and Ursula Le Guin fana c; we will be taking an ambling journey.
Unpicking Donna Haraway
In this chapter, I will be discussing some of Donna Haraway’s key works. Haraway is a feminist biology scholar who thinks across the fields of science, technology, feminism and animal studies; her theories are the founda on for my reimagining of what caring ecological rela onships may look like on today’s damaged planet. Many of her texts grapple with and conceive new modes of understanding and exploring our ecological posi oning, cri quing ideas of human excep onalism and recognising the importance of touch/sensory exchanges in inter-being-rela onships – themes that run throughout this text and underpin my discussion of various tex le prac ces.
Haraway’s theories, richly poe c wri ng style and storytelling approach to academia greatly influence my own methods for entangling art with philosophy and are cri cal to my analysis of tex le prac ces. However, there are limita ons to her approach. Most notably, in Staying with the Trouble: Making Kin in the Chthulucene (2016), Haraway discusses various forms of tex le art without ever delving deeply into the material prac ces and mo ons specific to them; an oversight which stagnates the poten al of these conversa ons and prevents us from uncovering the possibili es held within deeper, more curious, study.
The first of Haraway’s contribu ons to this disserta on is her perspec ve on knowledge as being a rela onal and embodied process. She cri cises “objec ve knowledge”, asser ng that “knowledge” is rather a situated, par al, and posi onal understanding, which is always emerging from our personal, recursive, inherited and worldly interac ons; “an engaged material prac ce and never a disembodied set of ideas” (Haraway, 2004). This concep on of knowledge as being deeply ed to lived experiences and material reali es will be vital to my discussing the bodily situ of embroidery knowledge. Also, as a research approach, it challenges the ideal of a detached/neutral perspec ve, instead emphasising the importance of community conversa on from diverse par cipants. This is par cularly cri cal for myself, since I am discussing other culture’s tex le prac ces: when we understand
knowledge to be a reflec on of our lived experiences, we must also acknowledge that a disembodied account will always be par al. In recogni on of this, I have tried to infuse this paper with the liveliness of group conversa on, integra ng the work of Jane Bennet, phenomenologists and ethnographic researchers, alongside Haraway’s insights and my own perspec ves, in order toembrace the entanglement of personal, cultural, and material experiences in tex le making.
I will also be exploring how we “become with” material objects during cra ; a phrase I borrow from Haraway to describe the process of fostering connec ons between individuals and the more-than-human world. Haraway regularly uses “becoming” to describe her ontology of ecological rela ng. In her 2007 book, When Species Meet, “becoming with” is described as a worldly, inter-species, metamorphosing and connec ng with others that a unes us to a mul plicity of rela onal contexts. O en emerging through scenes of play, becomings involve the coming together of beings in engaged and explora ve encounters that open up new forms of communica on across species and new frameworks for ways of being in the world. This works to challenge delusions of separa on, drawing a en on to the complex, and o en crea ve, ways in which we are affec ng and affected by our companions. I suggest that the in mate touching rela onships cra speople have with their materials allows for the becoming of new rela onal worlds.
Touching and tas ng: the senses which perpetually and most deeply configure our experiences. In Staying with the Trouble: Making Kin in the Chthulucene (2016), Haraway employs the phrase “tentacular thinking” to describe a rela onal, s cky mode of livingmoving-thinking with that engages the body with its surroundings through the medium of touch: grasping, tas ng, feeling and trying things out. It is a method of naviga ng and connec ng with the world that eschews futurism and cra s the condi ons for staying with, and flourishing alongside, our earthly companions in this me that Haraway calls the Chthulucene – a me which is not Anthro-centric but in which we are all deeply entangled in mul species, sympoie c webs, when “nothing is connected to everything; everything is connected to something” (Haraway, 2016); when we are in contact. Tentacular living is
rooted in mul species kinship, it is a recogni on that we either “become with each other or not at all” (Haraway, 2016). It is through this lens that I will be discussing tex le prac ces, considering how they might be u lised as a method of engaging with materials and with the world.
Touching is, clearly, for Haraway a vital medium through which to connect with others. Yet when she discusses Navajo weaving in Staying with the Trouble: Making Kin in the Chthulucene (2016), she details the complex rela ons this prac ce forms between people, place and animals without ever touching on the tangible movements that cra Navajo rugs. She diligently describes how the weaving of fibres from the local Churro sheep breed has sustained the rela onship between Navajo people and their colonised, damaged land - an ar s c endeavour capable of par al healing and modest rehabilita on (Haraway, 2016) –never men oning the material prac ces or gestures par cular to Navajo weaving. She presents it as a “cosmological performance” or an “art-science worlding”, beau fully evoca ve spiritual terms that, unfortunately, sideline the physical processes capable of such worlding. Her discussion of how weaving can build interconnected worlds in urgent mes is not built on a founda on which pays proper a en on to the skills that enact material transforma on. The people, places, materials, animals, all the players involved and at stake in art-science worlding, are intricately intertwined through the real, tac le, corporeal process of weaving as an art prac ce – beyond its use as a metaphor. Much as Haraway is cri cal of Derrida’s essay The Animal That Therefore I Am (2002) for its quick dismissal of the par culari es of a small cat, not becoming “curious about what the cat might actually be doing … Incurious, he missed a possible invita on, a possible introduc on to other worlding” (Haraway, 2007), I ques on what a deeper, more curious, study of the par culari es of tex le prac ces might teach us about cra ing a more “liveable world” (Haraway, 2016).
I will therefore be weaving an a en ve analysis of the minute gestures of embroidery into the web of Haraway’s ecological frameworks, reinforcing and s tching this together by introducing various phenomenological thinkers, and their a en on to the rela onship between sensa on and interpreta on, into the following conversa ons about
embroidery/weaving. Prominent phenomenological insights on touch as, not merely, a sensory experience but a fundamental way of engaging with the world will be a key thread to weave alongside Haraway, allowing us to be er understand the processes that enact material transforma on.
To summarise Haraway’s contribu ons to the following chapters, her concep on of knowledge as rela onal and embodied will underpin my discussion of Calado embroidery, whilst her no on of “becoming-with” others is threaded throughout this paper as I explore the rela onal nature of handcra ing.
Whilst con nuing to reflect on Haraway, we must turn our focus to the art of Calado: a dis nct example of embodied material knowledge.
Calado Embroidery
With an eagerness to begin exploring the ecological benefits of s tching1, this chapter employs Calado as an example of embodied knowledge in tex le making and discusses how embroidery prac ces at large have the poten al to establish rela onships with our body and with materials. Unravelling, weaving and mending are the three dis nct steps that materialise Calado s tches; a painstaking process which damages the cloth and then though ully weaves the threads back together. By paying a en on to these specific gestures, we will open up a rich conversa on about more-than-material mending through s tchwork.
The following descrip on of the Calado process is drawn from Tania Pérez-Bustos’ 2017 ar cle, "Thinking with Care: Unravelling and Mending in an Ethnography of Cra , Embroidery, and Technology". The ar cle recounts an ethnographic research trip to Cartago, Colombia, where Pérez-Bustos and her engineering colleagues learned the fundamentals of Calado from Mrs. Elsa, an 80-year-old Calado embroiderer.
1 S tching as embroidery - research about this ar orm is o en messy, it remains underexplored and quickly dismissed. The ontological and epistemic significance of embroidery is rarely acknowledged; the specific styles, prac ces, labourers, and materials involved seldom celebrated – primarily valued for its u lity in making objects “pre y” and providing a low-level income to some, but li le more. This neglect is partly constructed by its cultural status as a feminised, domes c cra and sustained by its exclusion from the realm of fine art and relega on to an ac vity of “hobbyists”.
Unravelling:
Deconstructing Calado as an Embroidery
Practice
Calado embroidery is uniquely cons tuted by three dis nct material interac ons: unravelling, weaving and mending. Unlike other types of embroidery, which decorate a tex le surface as given, the process of Calado begins with the careful unpicking of individual threads from a piece of cloth. This first step unravels the original warp and woof of the fabric, genera ng a grid of loose threads which becomes the base of subsequent s tches. Recalling an ethnographic research trip to learn the basics of Calado, Pérez-Bustos noted that this was a painstaking process which her engineering colleagues were unable to adapt to, even a er three days of teaching – Caladoras (women embroiderers in Cartago, Columbia) have spent decades studying their materials and learning the pa ence to prise at fine threads, all the while being mindful of the coarseness, density and tension of their fabric. The careful work of weaving then begins: the unravelled fabric is entwined with new threads which are interlaced and woven together with precise, decora ve s ches. These s tches a en vely reinforce the fabric, mending its structure and amending the unravelling that characterises Calado.
Image 1: [Ar st unknown, Date unknown]. Calado in process: a par ally unravelled coarse linen and the produc on of a s tch called Punto Espíritu. [Photograph].
Calado is a powerful example of the mending proper es of tex le handcra ing, it employs intricate, restora ve s tches not only as a means of repair, but also as a decora ve tool for transforma on. Contrary to the aims of discreet repair, this dis nc ve process fabricates beau ful marks of restora on, making visible and celebra ng what is, in most s tching prac ces, invisible: the art and labour of mending. Mending is, at heart, a prac ce of care: it requires familiarity with your materials, careful enactment, your me and your touch. To mend something is to recognise that it has value2 .
2 The availability of cheap, mass-produced items designed for disposal, rather than mending, has resulted in a sharp decline in the mo va on to extend the life of an item through domes c mending. The archaic associa ons of mending run counter to the values of a capitalist-consumer based society and economy. “An examina on of mending reveals a complex picture in which gender, class, aesthe cs and social mo va ons interweave with the impera ves of consumer culture. Whilst historically it is generally constructed as a feminine ac vity, and carried connota ons of material depriva on, contemporary mending is o en mo vated by environmental concerns and a desire to reduce consump on.” (König, 2013)
Weaving: Donna Haraway and Phenomenologists with Calado
In this sec on I draw upon Pérez-Bustos' descrip on of the Calado process –interweaving Haraway’s principles, phenomenological interpreta ons of touch, and insights from my own embroidery prac ce – whilst paying specific a en on to the gestures that materialise s tches, in order to explore how embroidery creates entangled rela onships between our bodies and materials as a prac ce of rela onality.
Calado demands excep onal skill and pa ence; the highly intricate and labourintensive cra requires mastering three dis nct steps and precise s ches can only be fabricated through an incredibly deep understanding of the materials involved. This knowledge is not learnt in days or decades but through genera ons as embroiderers preserve tradi onal pa erns and styles, passing from grandmother, to daughter, to granddaughter. It is no wonder that Pérez-Bustos’ colleagues were unable to unravel threads s tched amongst such culturally rich roots: “Mrs. Elsa would encourage us to finish by helping us with the task, a labor that her expert hands did carefully and quickly.” (PérezBustos, 2017).
Beyond knowing what steps to take, Calado requires a knowing of one’s fingers, of one’s body; a knowing of your fabric, your thread; a knowing of how to touch, to interact, sensi vely. “All these are embodied percep ons that embroiderers learn to appreciate with their hands through the in mate and some mes painful interac on with Calado embroidery materiali es” (Pérez-Bustos, 2017). It is for these reasons that Calado is a poignant example of Donna Haraway’s concep on of knowledge as an embodied prac ce. Merely viewing sta c images of a prac ce, or having it described, does not relay the ability to perform it –repea ng the gestures un l your fingers have a memory of the movements is the only way to learn.
To be er understand this process, we’d be er consider what it is to touch and be touched.
Phenomenological philosophers emphasise sensory experiences as being central to how we engage with the world, recognising moments of bodily connec on with others as central to the lived experience. This focus on sensory in macy offers valuable insights for understanding prac ces that involve a delicate touch, where kinaesthe c skill and material knowledge are deeply entwined. Hence, I turn to them now.
Aristotle laid the founda ons for later phenomenological interpreta ons of touch in De Anima (Book II), claiming that touch is a media ng sense which allows us to discern between our experiences. “Touch is not immediacy but rather media on through flesh” (Kearney, 2015). It does not do away with the interval between ourselves and material stuff, instead we are exposed to otherness across gaps: in approach. From the moment we’re born we are in perpetual touch with things, configuring our experiences through fleshy encounters; never closed off, always media ng and messaging between inside and out. “Vitality is a ma er of taste and tact” (Kearney, 2015). By refining this most “basic” of senses – learning to u lise it a en vely, carefully, mindfully, to s tch things together – we are tending tactfully to the rela onship between our carnally located self and the other. Calado does not merely decorate objects or prac ce pa ence, it a ends to others: an enactment of wisdom through flesh. It requires “the touch” of the teacher, the ar st, the healer. To learn to s tch well is to learn to touch well and, in turn, to live well and open with the world, media ng between the self and other, human and more-than-human.
From my own experience piercing and s tching into delicate fabrics, I know it to be a corporeally introspec ve and outwardly sensi ve prac ce. One must have steady – well fed, well rested – hands and be deeply conscious of the movement, posi oning and force of your touch. Mindfulness is intrinsic; “the silent and quiet body disposi on of embroiderers shall not be confused with subservience. Indeed, it is an ac ve and concentrated state in which rela onali es between human and non-human actors are interwoven.” (Prain, 2011). By undertaking fabric altera on, our whole body – from our bowed shoulders to our pricked
finger ps – becomes intertwined with and transformed alongside our materials, leaving behind a memory of our touch in every s ch.
The first interac on embroiderers have with each new thread is to taste it, to wrap it around their tongue and pull it through their teeth – a twis ng which condenses the threads and a sucking which removes excess saliva so it may be passed, slowly, through the eye of a needle. From this first moment of oral contact the project and the embroiderer are entangled, DNA is s tched into the fabric – our unique gene c code mingles with that of the animal or animals from which the fabric was made, or, in the case of synthe c materials, with the memories of the hands that came before. Haraway finds companionship with her canine in the fleshy vulnerability of a slobbery kiss; in knowing that her enzymes, her biota, the materials of her vitality, are mingling in slime, in stomach, in distance with the vitality of her dog (Haraway, 2007). During embroidery fibrous fragments enter our diges on, eyes strain over fine details, fingers cramp; the transforma ve proper es of s tching – of touch –extend far beyond the material. We are affec ng, affected and mutually becoming. In moments of becoming, we open up the possibili es for mending rela onships between ourselves and the more-than-human world.
Foliage-Fabrics: Embroidery as an act of ecological care
As explored in the previous chapter, the mending proper es of s tchwork extend far beyond material transforma on Delicate s tching demands an in mate understanding of your materials and fosters a reciprocal awareness between mind and fingers, whilst cra ing connec ons between the self, the body and others. In an age of increasing disembodiment –when virtual reali es seem to overshadow the lived experience, and we are systema cally disconnected from natural environments – I wonder whether tex le prac ces might be u lised as a powerful tool for recra ing ecological rela onships. I propose that rethinking our material choices3 and introducing “foliage-fabrics” into ar s c prac ces might bring us into closer physical and emo onal contact with natural landscapes, offering a means to rehabilitate these vital connec ons. This perspec ve comes from working with leaves in my own embroidery prac ce, a discussion I turn to now.
Cra ing the series of work en tled Foliage-Fabrics, in which leaves/foliage become my embroidering material, has radically reshaped my botanical rela onships. Perhaps it was a desire for this that compelled me to begin s tching into found, fallen leaves – or perhaps I was simply trying to stave off the onset of seasonal depression. Either way, as the leaves began to drop to the ground in 2022, I suddenly found myself collec ng, preserving and mending them. Trudging through autumn’s mulch metamorphosed from an inconvenience to a joyous part of my prac ce, I had found a way to weave together my love for embroidery and nature. Whilst patching, darning, extending the aesthe c life of a leaf – before it ul mately s ll decays and rejoins the land as hummus – may not seem a par cularly radical mode of environmentalism, it has radically reshaped my environmental awareness. Leaves have become my ar s c companions; I strive to know them, I strive to no ce them.
3 As awareness grows about the risks of microplas cs, many cra speople are favourably returning to using organic fabrics, such as co on, wool and linen, in their projects.
Image 2: Gannon, P. (2024). Foliage-Fabrics: I hate to disturb you, but is anyone in there?. [Embroidered leaves].
I am always searching for and collec ng leaves Urban landscapes cannot cast them out, they come floa ng on the wind and are trod in by our boots. I have come to appreciate and no ce that they are everywhere; a daily reminder that the world extends beyond our rou ne. Spo ng new colours, new pa erns, intra and inter species differences, the interes ng marks le by a cri er’s feast, etc., disrupts my day with moments of joy and ar s c wondering. In When Species Meet (2007), Haraway makes note of the rela ons that form between beings during cross-species play, most notably a magpie and a dog. According to Haraway, these mul species encounters open up new frameworks for no cing, collabora ng with and knowing our messmates. “Foliage-Fabrics”, an unexpected linguis c and material colloca on, encapsulates the ways in which art, philosophy and nature may be woven together, through s tching. By engaging with leaves in my ar s c prac ce, I have become in mately entangled with them. I have come to know them and the pressure they can withstand through years of play and experimenta ons; tes ng methods of drying, pressing, soaking – amongst others – to reduce bruising and prolong their workable nature.
Each new piece begins by rifling through my box of crisped and fla ened specimens, tracing and gently bending the surface of each in search of a cu cle which reflects my pa ence that day. Some leaves feel irresis ble to touch and to work with, their intricate colour or pa erning sugges ng in what way they ought to be altered. Others fall atop one another, slo ng within harmonious shapes and concentric ridges; having found companionship amongst themselves for which I am compelled to cra a home. The other objects of my desk join in the game: the can, the glue, the lips ck are all placed upon leafy beds and traced as I test which form best reflects its ma ress. Gentle fingers must make precise movements and guide each strand of thread through the leaf, weaving them together with a low tension and mindful considera on of whether a vein or venule has been pierced.
As I gently pull a strand of thread, guiding it at varied angles to spread the load, I am feeling the leaf, in and through distance – a prac ce of empathy. “The ancient term for wisdom, sapien a, comes from sapere, to taste. This etymological line speaks legions, reminding us
that our deepest knowing is tas ng and touching.” (Kearney, 2015) Feeling each leaf –assessing the thickness of its cu cle, tracing the venules to find the least vulnerable cell structures – allows me to pierce and s tch into them whilst causing minimal damage, so that they might be preserved. Touch is central to our lived experiences, it is what keeps us perpetually engaged with things, with the world, preven ng us from ever being closed off from others. Embroidering – a medium of transmission through flesh – keeps me in touch with leaves and the wider landscape. It is mending our rela onship. None will last forever but to care for and touch these foliage-fabrics is to know them and become entangled in this moment: post-living and pre-hummus, myself, my thread and this leaf mingle.
We are in deep rela on with one another, affec ng and affected, through sensi ve touch. Embroidery has woven together and repaired rela ons between myself, my prac ce and the landscape. When performed communally, it is also a great tool for interpersonal healing. Tejiendo Sueños y Sabores de Paz is a Columbian weaving group who prac ce tex les as a means of mending these connec ons following a violent conflict and centuries of colonial oppression. The following chapter discusses this community group as a further exemplifica on of the mending proper es of s tchwork.
Women Weaving Dreams and Flavours of Peace
This chapter introduces the Colombian weaving group Tejiendo Sueños y Sabores de Paz (Women Weaving Dreams and Flavours of Peace) as a further example of mending morethan-human rela onships through tex le arts, while also expanding the discussion to explore how these healing proper es can address interpersonal and community-wide restora on. I primarily draw on reports by Maddalena Tacche and her colleagues, who have met and engaged with the group, in order to draw out the unique narra ve of Tejiendo Sueños y Sabores de Paz. Integra ng the theories of Donna Haraway and Jane Bennet, together we will consider how weaving has begun to mend rela ons between the group and the socio-ecological fabric of their community, as well as how the products of their cra have transcended the realm of mere objects, becoming memorials to the resilience of Mampuján’s people. Formed in 2006 following a violent armed conflict which displaced the village of Mampuján, Tejiendo Sueños y Sabores de Paz is a collec ve of displaced people engaging in tex le cra ing as a means of mourning and healing following a violent armed conflict (Tacche et al., 2021). The group cra large woven/s tched tapices (quilted tapestries) that retell their shared experiences through vivid depic ons of the extreme violence endured by Mampuján’s popula on during a paramilitary invasion on the 11th of March 2000 (Tickner and Querejazu, 2021)4. The project challenges “official accounts” of the massacre by telling and memorialising the collec ve memory of the villagers who are systema cally marginalised by state ins tu ons (Tacche et al,. 2023).
Cra ing tapestries such as Mampuján Dia del Llanto 11 de Marzo 2000 has enacted healing for the community of Mampuján in a myriad of ways. It has provided monetary income, brought global a en on to the conflict and ins gated state repara ons. Perhaps most
4 Strategically located for travel, kidnapping, and the transport of drugs and weapons, Mampuján became the target of a paramilitary group who displaced 245 families and murdered 11 inhabitants (Tacche et al., 2021).
interes ngly though, the weavings have cra ed spaces of media on, diplomacy, rela ng and remembering.
Image 3: Tejiendo Sueños y Sabores de Paz. (2006). Mampuján Dia del Llanto 11 de Marzo 2000. [Tapestry].
The tapestry, Mampuján Dia del Llanto 11 de Marzo 2000 (2006), depicts the day of Mampuján’s forced displacement. Bright patchwork figures engage in extreme violence and extreme terror across the tapiz: armed men beat, in midate and bare weapons at the popula on, a woman is being raped, others are fleeing with their possessions. Whilst it is a bleak image, communal remembrance has helped to rebuild the founda ons of everyday life for the women of Mampuján5 . The sewing collec ve, as it o en has been, is u lised as a powerful tool for emancipa on and empowerment
Sabores de Paz – flavours of peace: Tejiendo Sueños y Sabores de Paz has expanded the purposes of tex le handcra ing beyond material crea on to a end to wider life/community sustaining prac ces. When gathering they engage in a plethora of daily ac vi es, sharing the burdens and joys of cooking local dishes, taking care of children, talking, ea ng, massaging, singing, dancing, praying and hair styling (Tacche et al., 2021). “Sociality, commensality and weaving all exist because of the other not being independent of them.” (Tacche , et.al 2023). Engaging in communitarian prac ces of making and cooking – social and ecological acts of care and repair – alongside s tchwork has helped to sustain the community. Organising in this way, communally suppor ng the social, material and spiritual worlds that women inhabit, has rendered possible the con nua on of life amid conflict. Through s tchwork, they have cra ed reclaimed autonomous common spaces in which to gather, work with their hands, and perform life-sustaining prac ces, weaving together more-thanhuman necessi es and pleasures - a beau ful tapestry in the face of oppression.
The careful physical nature of handcra ing plays an important role in this process by slowing gestures and reasonings. Threads and pa erns are carefully selected, undoing and repairing is o en required and, when performed collabora vely, involves discussing individual visions for a piece, and allowing each to have her turn s tching across the canvas. By challenging us to produce though ully, tex le art helps us to engage meaningfully with
5 Tejiendo Sueños y Sabores de Paz is, fundamentally, a women’s collec ve. Whilst it has benefited the en re community, and does not exclude children or other par cipants, it was formed by women in order to a end to the labours of a woman’s life and reconcile the injus ces which dispropor onately impact their daily experience.
our materials and our memories – providing the me to unpack emo onal and physical pain, suffering and sadness: a profoundly therapeu c func on (Tickner and Querejazu, 2021). Working through complex emo ons by engaging the body provides healing within the en re self. “Flesh is open-hearted; it is where we experience our greatest vulnerability. It is the site where we are most keenly a en ve to wounds and scars, to preconscious memories and traumas… With this comes a deep sense of fragility and insecurity.” (Kearney, 2015). Playing with tex le materials has created a means for the people of Mampuján to recreate, resignify and reshape horrific experiences into monuments of jus ce, healing and community (Tickner and Querejazu, 2021).
Image 4: Tejiendo Sueños y Sabores de Paz. (2019). Cartogra a de Mampuján [Tapestry].
Cartogra a de Mampuján (Cartography of Mampuján), another of Tejiendo Sueños y Sabores de Paz’s quilted tapestries, represents a further facet of healing through tex les: reconnec ng with the land. Whilst the bright colours and composi on are reminiscent of the tapestries that portray the violent history of Mampuján, Cartogra a de Mampuján is significantly different in that it lacks depic ons of any armed actors. Rather than showcasing horrific atroci es it instead memorialises the community’s memory of, and pays tribute to, their home. The village of Mampuján was le abandoned a er the forced displacement but in this tapestry, it is resignified; the landscape, houses, crops, animals, farming prac ces –the daily, life sustaining web of beings and doings that made up the fabric of the village – are
all preserved. Conflict severed the es between Mampuján and its inhabitants – a rela onship already strained by centuries of colonialism6 - whilst sewing has rewoven these connec ons. In Vibrant Ma er: A Poli cal Ecology of Things (2010), Jane Bennet argues that objects can transcend their tradi onal status as inert or passive by exhibi ng an agency that situates them as par cipants of influence – s ll material, but able to act upon and affect the world. Tapestry making has transformed the lived experience of Mampuján’s women. The products of their cra – the tapices – have reshaped their rela onships and their livelihood. Benne challenges the strict subject-object divide, sugges ng that objects possess a certain “thing-power” or “vitality” which acts upon us in entangled reciproca on. Not dissimilar to Haraway’s concep on of mul species co-becoming, perhaps our interac ons with material objects can have an equally worlding effect.
Extrapola ng these ideas, the tapices of Mampuján may be perceived as possessing this “thing power” which situates them as ac ve par cipants in social, ecological and crea ve networks. The tac le quali es of tex le fibres – the resistance of threads, the rhythmic gestures that materialise s tches – ac vely shape a maker’s ac ons and emo ons, alongside the material outcome of a tex le project. A dialogic rela onship exists between a cra sperson and their materials which opens up meaningful discussions. As the Mampujána weavers addressed the violence their community suffered in 2000 through their cra , the introspec ve and emo ve process of remembering whilst working with their hands alerted them to the larger context of racially mo vated oppression they had been subject to, leading them to make several quilts exploring their Afro-diasporic iden ty (Tickner and Querejazu, 2021).
6 Montes de María, the region where Mampuján is located, has long been scarred by colonial land conflicts, forced displacements and land grabbing. Historically, Mampuján thrived on tradi onal farming, fishing, and hun ng prac ces. Today, violence has refigured the landscape with oil, teak and palm planta ons degrading the water and soil. The abandoned village, now called "Mampuján Viejo," has fallen into ruin, overtaken by wild vegeta on. Priva sa on and resource control have created an ecology of dispossession. (Tacche et al., 2023).
Weaving the essence of Mampuján into a tapiz entails threading the flavours, tradi ons and cultural es of Afro-Caribbean heritage alongside local environmental reali es. In a more than social reading, influenced by Haraway and Bennet, it appears that the collec ve doings of Tejiendo Sueños y Sabores de Paz are not led just by organised human ac on but by interdependencies with nonhuman agencies – a sympoie c model for patching injured socio-ecological rela onships (Haraway, 2016). By making-with living and non-living beings Tejiendo Sueños y Sabores de Paz is embracing mul species, material, and ecological entanglements in order to confront environmental and social crises. Haraway advocates for “staying with the trouble” – a commitment to grappling with the messy and uncertain dynamics of a deeply interconnected world. Sympoie c models reject hierarchical thinking and recognise the agency of all par cipants, human and nonhuman alike, in crea ng prac ces that sustain collec ve survival (Haraway, 2016).
Furthermore, tapices such as Cartogra a de Mampuján, beyond pictorially represen ng the landscape of Mampuján, carry an ecologically significant material history. The plants, animals, synthe c and cultural processes which create tex le fibres remain embedded within the final piece, enmeshed with the memories and labour of Mampuján’s women and the dust, dirt, hair and skin that fabrics collect in public places of cra and display. Through embracing this liveliness – this vitality – handcra ed tex les can be seen as more than mere objects and appreciated as collaborators in forming ecological/interpersonal connec ons, invi ng deeper ethical considera ons regarding the materials and processes involved in cra .
Weavings are storytellers, living keepers of memory and voices projec ng the dreams and flavours of a people; “an integral part of the social, poli cal and cosmic community.” (Tickner and Querejazu, 2021) The cura on of tex le “object witnesses” holds the poten al for unse ling narra ves, evoking emo onal reac ons and producing empathy; bonding weaver and viewer, enac ng a process of rela ng. In the midst of planetary crisis, when worldly survival is dependent on empathising with and connec ng to landscapes, it is
important that we consider how tex le objects and processes might help us relate with fragile ecosystems and tell stories of environmental companionship. Integra ng foliage into my ar s c prac ce has allowed me to feel this poten al firsthand. Taking this concept even further is ar st Dianne Standen, who invites an en re woodland to become an ac ve par cipant in her work, and with whom I have had the privilege of collabora ng on the final chapter of this paper.
Weaving in the Woodland with Dianne Standen
This final chapter draws upon an interview I conducted with ar st Dianne Standen7 to reflect on how the integra on of tex le prac ces within natural landscapes can generate ecological discussions and enact personal healing. Dianne is the resident ar st at Rydal Hall, a historic property on the outskirts of Ambleside, Lake District, and has been cra ing a tex le sculpture walk in the woodland which surrounds it for the past 20 years. I first visited the woodland in June 2024 and became mesmerised by the project, and the unique landscape it worked to create, from the first sculpture I stumbled across.
Dianne Standen: Were there any par cular pieces that you were a racted to?
Poppy Gannon: Ooh, you know what it was. It was the first one I found. The felt running along a log. My parents didn’t believe me at first, I remember star ng to run away from them and towards it, as soon as I spo ed it. “There’s something weird about that log, that’s not just moss!”
Image 5: Standen, D. (2024). [un tled]. [felted sculpture].
7 The interview was conducted November 10th, 2024, with consent to edit and share. My chat with Dianne was lively and informal; a produc ve way of communica ng our ideas that I’ve tried to emulate when forma ng the following fragments of our conversa on. These fragments have been edited by myself and do not reflect the full breadth of our conversa on, or Dianne’s prac ce.
Having filled our cups with tea and briefly go en to know one another, I was curious to learn more about Dianne’s art prac ce. She works with a range of recycled tex le materials and processes, fel ng and weaving sculptures designed with par cular parts of Rydal’s woodland in mind; the fork in a branch, a trunk that catches the light, the remnants of an old well.
DS: Walking through the woodland I’ll see a standing bit of tree or something and think, well I could put a piece of work there, and if I put a piece of work there, what could I put there? And then that just festers; for weeks, months, some mes years
Many of her sculptures are, at first, difficult to spot. The woodland environment perpetually acts upon them: dilu ng the seams between tex le and vegeta on, muddying the colours. I was curious to learn how Dianne felt about placing her artwork in an environment that would “damage” them so.
PG: For most ar sts it’d probably be a worst nightmare to imagine their work gathering debris or becoming a home for spiders, tucked away somewhere. I was wondering how you feel about that being where your work is si ng, and whether you ever ac vely encourage these natural interac ons with the woodland?
DS: To be honest it happens more by happenstance, I’ll move a piece of work and become aware of just how much bug life has taken it. So I do try to leave it un l it’s really on its last legs before I think about removing it, because so o en it’s become a habitat – and I like that very much, the no on that you put something there which has mul purposes, has become a habitat as well as doing other things… really provided a feeding ground as it were for the moss and the fungi… In the end they’re more hole than felt.
During my visit, I had no ced that many of Dianne’s artworks no longer seemed to be solely her own. The agents of the woodland – the weather, the light, decaying bodies, cri ers, moss and slime – had been invited to take part in her ar s c interven on. Together, they
shaped the landscape through the transforma onal proper es of weaving, growing and dying. Beyond Bennet’s no on of material vibrancy, Dianne’s artworks are, quite literally, teeming with liveliness. Interweaving nature and artwork does not produce a sta c result –with every breath the elements engulf a li le more wool, and the fibers cast their web a li le further.
DS: This one was a beau ful one. I loved it but, in the end, it just went to ta ers. And that to me has become the most fascina ng part – the interac on of the decay with the fibre. That’s how that one started off, but by the me it finished it was just riddled with fungi. I did this, but the fungi came out of that.
Image 6: Standen, D. [Date unknown]. [Un tled]. [felted sculpture].
Dianne’s artwork has done more for Rydal’s woodland environment than just providing cozy, felted homes for our small companions. Her sculptures irresis bly draw the body into each corner of the landscape; they encourage you to look between every branch, along every log, to reach out and touch the sites where bark meets felt, and to marvel at the beau ful, sculptural forms inherent to the woodland. Visi ng with my parents, I had the joy of watching them play with nature unlike I have ever observed before: gazing all around, deligh ng in every detail.
By weaving the woodland into her prac ce Dianne has created complex, relaying networks in which tex le materials, natural processes, her touch and viewer’s bodies become entangled; each reciprocally ac ng upon the other, becoming together. A sympoie c model that allows us, as viewers and par cipants, to recognise our place within and impact upon environments; an ar s c prac ce that physically brings together diverse beings in nonharmful ways and envisions a co-created future. Healing is a process, no landscape has ever been or will ever be “un-touched”, but we can move towards a be er, more sustainable, future if we recognise that we are ac ng upon and affected by our environments. Dianne’s artwork and the landscape she has cra ed, in unison with each member of the woodland, reminds us that we are all agents capable of world-building, capable of enac ng change.
Beyond rehabilita ng ecological rela onships, Dianne and I also discussed the therapeu c proper es of tex le handcra ing; its ability to build inter-personal connec ons and connec ons with one’s own body. The sociality of communal tex le making has a rich history of community building that con nues in Dianne’s workshops8 .
8 We collec vely acknowledged that the division of Western cultures into nuclear households has likely rendered a community of making/ea ng/sharing, such as that of Tejiendo Sueños y Sabores de Paz, presently impossible for ourselves. However, there is a rich history of such tex le-focussed community building in Britain; from families gathering together, across genera onal gaps, to cra rag rugs for the home, to quil ng beespredominantly female assemblies which provided women the chance to talk amongst themselves, sharing important understandings about their health, contracep on and child bearing. These informal, collabora ve group projects gathered folks together, promp ng meaningful discussions and interpersonal connec ons.
DS: Quite o en they won’t pursue something a er the workshop, but they enjoy the process of learning, and I no ce that it’s very social. You get a group together and they start working with their hands and that frees up an awful lot of conversa on and things. I enjoy that aspect and I think a lot of people enjoy that aspect.
Whilst cha ng, she had several other visitors pop in whom she’s go en to know via these workshops.One such visitor was fellow tex le ar st Kay Swaine with whom I discussed the bodily situ of tex le knowledges. Both Kay and Dianne described a deep bodily connec on to their prac ces. Kay shared that she experiences a “build up” of energy in her handsdemonstrated with a trembling of the fingers – a er not s tching for a few days and that she misses the rhythmic mo ons of embroidery if not performed o en enough.
Kay Swaine: It’s just something we do ain’t it, with your hands. For me it’s like a therapy almost. If I don’t sew every day, I do get the ji ers… It is a big part of my life now and I think I benefit as a result of it.
DS: I do think rhythm comes into it and working with my hands is actually soothingespecially if it’s something you’re not doing though ully. You become absorbed in it and it’s as though the hands are opera ng quite independently of the head in a rhythmic momentum.
These insights further exemplify my proposal that tex le arts possess a wonderful ability to connect together people and their bodies in ways which allow for though ul introspec on.
In contrast to the liveliness of her studio, most of Dianne’s me spent working at Rydal is a quiet and solitary prac ce. She had begun cra ing the sculpture walk shortly before her son’s passing and con nued the project during the period of mourning and reflec on that follows such an impac ul experience.
DS: It was a very difficult me. Working at Rydal really helped. I’d say it was the best thing I could’ve done. My daughters went and had counselling but that’s not a path that appeals to me at all, I would rather be with myself and be in a natural environment. Working with my hands, working with new ideas – those were the things that helped in the first year. When I say worked for me…. Hmm, it just helped… I suppose, in a way, I don’t think about it consciously any more – maybe sub consciously – when I’m down there. I’m quite o en thinking of him. Just being outside helps anyone’s mental health, being in natural surroundings, running things through the hands.
Rydal’s woodland provided Dianne the space to reflect and to create. Whilst not all wounds can be healed, not all damage repaired – be they from the passing of a loved one, violent conflict, centuries of oppression, or environmental destruc on – handcra ing in the comfort of nature, with the comfort of touch, is a powerful means for processing difficult emo ons.
My conversa on with Dianne and visit to Rydal was fundamental to the cra ing of this text. It has been a joy to get to know her and her prac ce; a process that has grounded my understanding of tex le arts as socio-ecological strategies in the work of someone truly genera ng personal and planetary flourishing with their prac ce. Her sculptures are at once habitats, cathar c outlets and living monuments – made of ro ng wool – to our ability to act upon the world in gentle, crea ve ways.
Conclusion
This disserta on set out to explore how tex le arts can serve as socio-ecological tools for healing within the self and with the world. I began the project with a belief, founded in my own art prac ce, that Tex le art can be a powerful medium for fostering ecological awareness, cul va ng deeper connec ons to the environments and communi es we inhabit in a me when our rela onships with the more-than-human world are under great strain and are of great importance. Having explored various tex le makers/groups/prac ces throughout this text I am certain of their ability to enact personal and planetary flourishing. Touching on such diverse par cipants, that have each required a unique approach and tone to bring out their contribu on, has created a mul -layered conversa on that mirrors the rela onal, collec ve and interdependent nature of tex le handcra ing.
Just as s tching involves a gradual weaving together of threads, this disserta on traverses interconnected ideas, prac ces, and reflec ons, embodying the entangled rela onships at the heart of this study. I warned that that this would be an ambling journey. S tching is not a straigh orward act, an understanding emerges through doing; it involves pausing, adjus ng, unpicking, and reworking. Similarly, this disserta on took a non-linear, conversa onal route that embraces Haraway’s call to reject rigid structures and invites readers to journey, alongside myself throughout these sites of inquiry, fostering exploratory, collabora ve thinking.
To summarise the journey, we began by touching upon some of Haraway's key ideas; theore cal threads that were woven throughout and connected the rest of the text. Haraway’s understanding of knowledge as an embodied process inspired me to discuss the being-feeling-doing nature of Calado embroidery, whilst being par cularly a en ve to the body’s posi on within this prac ce. Through this discussion, an understanding of the ways in which s tching creates entangled rela onships between the body and materials emerged. Expanding on this idea, within the context of my own art prac ce and Haraway’s no on of mul species becomings, we explored how integra ng natural fabrics within tex le prac ces
can cra in mate ecological rela onships. This line of enquiry was further exemplified by Tejiendo Sueños y Sabores de Paz and Dianne Standen’s woodland artwork, very different but related examples of connec ng with landscapes and world-building through tex le art. Engaging with these prac ces unveiled their poten al to address personal and planetary disconnec on.
By foregrounding the material, touching proper es of tex le arts, I have been able to situate the theore cal work of Haraway within the real, tangible processes of handcra ing. My a en on to the tac le nature and gestures of s tching has been vital throughout this process, ensuring that the discussion remains embedded within real, embodied material processes and does not become a detached/metaphorical discussion. This unique approach has allowed me to contribute to the ongoing dialogue between art and philosophy and the o en-neglected study of tex les. Whilst this disserta on limited its scope to tex le arts, similar acts of care could be found in other handcra ing prac ces through future study.
Finally, I hope to remind the reader that s tching is, at heart, a prac ce of care. It is this care – for materials, for others and for the environments we are inextricably implicated in – that allows for the mending of rela onships and generates possibili es for weaving more liveable, interconnected worlds.
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