Why I knit lace
Lace that is knitted teases my brain and there always seems to be a ‘what if’ factor which fascinates me. Before I could read my grandmother taught me patterns by demonstrating the role the stitches played in the fabric. This ability to ‘read’ knitting led to my passion for translating my own drawings into lace and where necessary creating optical illusions when restricted by the structure of the knitted fabric.
Initially, European publications introduced me to charts and participants in my classes converted me to their use. They are a helpful tool for describing, analysing lace and tracking dropped stitches but have limitations. They do not show a scalloped or pointed edge so understanding structure is important for a designer.
Lace today is an exciting craft with so many materials and resources available. Did the original knitters of lace ‘read’ their knitting? Did the advent of written patterns change the way new patterns came about since so many seem to be the reorganization of traditional patterns. When stitch numbers vary in a row does this indicate an ‘artist’ focus rather than a mechanical process?
The reason I studied for my Bachelor of Fine Arts so late in my career was because I needed to experience the artist process in relation to my practise.
Education
2007 Bachelor Fine Arts Canterbury University
1959 Primary Teachers Certificate
Career
Designer of Lace that is knitted and Artist making Fine Art prints
Biography
Born 03 April 1940
Married to: David (deceased 7 March 2014)
Children: Sonja, Dominic, Kristine and Sean
Grandchildren:
David, Natasha, Anastasia, Tobias, Jonathan
Jordon, Oliver
Michaela, Adrienne
Nathaniel, Marcus