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May 2018

June 2018

Why we need to think again about "yarn bombing"

I found myself in an interesting chat about so-called yarn bombing on Twitter this week prompted by Louise Scollay of the Knit British podcast. It started with whether we were comfortable with the use of "bombing" to describe activities where people decorate a space with knitted and crocheted items often as a unsanctioned "flash" event, but the discussion has prompted me to think harder about the whole phenomenon.

I have a specific reason from finding the term yarn bombing uncomfortable. Bombing is an unredeemably negative term for someone who grew up in Belfast in the 70s and 80s and who has experienced being in a bomb explosion. (If you are having trouble getting past the last sentence, I have written a little note about reacting to that statement at the bottom of this post but for now I want to focus on the topic**).

Bomb is a negative word. On the other hand, yarn is a very positive aspect of my life. Not only is it central to my working and creative life, but I have used knitting, crochet and braidmaking to help me with pain and anxiety.

My personal distaste for putting the two words together may not be enough to argue for the term yarn bombing to be done away with but thinking about it brought me to some wider issues with the term and to some extent the activity.

If you think about the word bombing, it suggests an out of control and destructive event. Event the common alternative yarn storming has a destructive element. Surely this is not the message we want to get across with a collaborative creative happening.

What it does do is sum up the problematic side of yarn bombing activities. Major reasons that some people feel negative towards it is that yarn bombing can seem random and have a poor environmental impact. Explosions of knitting and crochet without a discernible purpose or theme, that are just left resulting in limp rags of indestructible acrylic yarn hanging from trees. 

P6135112
We should think carefully before we take on the urban environment with yarn and needles

When done well, a community yarn art event can be life enhancing - bringing connections to those who participate and enjoyment to those who experience results. But part of that process should be a planning and responsibility from those undertaking the knitting and installation. To me that means a clear reason for the event and a plan for removing the pieces when they no longer serve the purpose or begin to look less attractive, enjoyable or useful.

With this in mind. I am proposing using new term "yarnstallation". The idea is to move away from negative language to a word that links with craft with art and which I hope conveys a more planned and responsible approach. Perhaps ten as a community we could talk about how we approach yarnstallations to ensure they are seen as positive happenings that benefit communities and how to avoid accusations of polluting the environment.

 

 

**I find that people struggle with how to react if I mention that I have been in a bomb. The thing is, it is part of what makes me me. It happened. I am fortunate that I avoided much more serious injury, but I do have long term physical and mental health issues as a result (not always obvious). If I am telling you in a calm way (as here) to explain or give context, please take it calmly in the way it has been offered but don't prod for specific details. If I think it relevant or I am comfortable to do so I will share more but I may not want to, please respect that. At times, as here it is relevant to share that it happened but the details have nothing to do with the point I am making above.

The other time someone might find out about this, is if something triggers an anxiety attack or flashback - in which case take the information as background to helping me through the episode.

 


Of shawls and serendipity

It's no secret that I have  a bit of a hand-dyed yarn habit. I am drawn to rich and deep colours and unusual combinations but to control myself I try to focus on choosing yarns where I can see an outcome for the skein.

For a while now I have been admiring, and occasionally buying. the work of Helen Reed of The Wool Kitchen. I like the yarn bases she uses and her strong colourful dyeing style.

Twk cosmic girl

I particularly like skeins such as these in the Cosmic Girl colourway with a saturated main colour with flashes of contrast. And for a while I had been contemplating a "radial shawl" using this or a similar colourway. A radial shawl is a style I have adapted for myself with wedges of short row shaping and a wide lace edge section creating a semicircle. They work with yarns with long colour changes and I thought that the short runs of contrast colours in these skeins would also create an interesting effect.

Then Christine Boggis, the editor of The Knitter, told me she was planning an issue based on hand-dyed yarns. I immediately started a list of my favourite dyers and pulling out notes about ideas I'd had for different yarns. Top of the list was a shawl in Helen's yarn.

While I was pulling my ideas together, Christine was in touch again to ask if I knew of The Wool Kitchen and would I be interested in working with Helen. 

Don't you just love it when a plan comes together?

Electric storm 2

It was delightful to work with Helen to get her advice on what colourways work in what bases and then to come up with the Electric Storm shawl complete with lightening flashes of neon on a deep blue ground. This is a shawl that brought me a lot of pleasure to create and I think it really shows off Helen's colour sense and her dyeing style. And I'm really looking forward to seeing other people's versions.

Electric storm 1

This is unlikely to be the last time I work with Helen's yarns. I have some more sitting here and why writing this post I had to pop over to her Etsy shop which means I have been tempted by some new colourways.

  Electric storm 3Photographs by Laurel Guilfoyle for Knitting, GMC Publications