Alumni Stories - Laura Cross
"With the funding from this award I was able to put it towards the purchase of my own Dobby handloom. This was a major aim I had after finishing my MA, as the equipment used for Woven Colour was all based in NCAD. Buying a loom has enabled me to continue with my practice independently and has opened up endless possibilities for future projects."
Designer: Laura Cross
Occupation: Woven Textile Designer
Course/Graduation: Design for Body and Environment MA 2023
Discipline: Textile Design
Residence: Sligo
Design Competition Awards/Achievements:
Design & Craft Council Ireland Future Makers 2023 - Studio Support Award
Arts Thread Global Design Graduate Show 2023 - Shortlist
Briefly describe your design project?
Woven Colour, my final MA project, revolves around an exploration of colour, texture and traditional hand weaving processes.
Influenced by architecture viewed on a trip to Cuba, I began my process by creating abstract paintings. Striking juxtapositions exist within the mottled, worn surfaces adjacent to smooth extravagant façades. Interpreting these surfaces is what drives my work. The artwork made in response was a crucial step in translating the source into woven cloth.
The colours used in the project were a result of extensive experimentation with dyes. Hand dyeing the yarn was a vital stage in the development of my practice. It was important for Woven Colour to display a distinct colour aesthetic, true to my artistic expression. The final palette reflects layers of eroded paint as pastel washes, in contrast with rich, vibrant midtones.
Using natural fibres was essential to align with my work ethos. Wool has many beneficial qualities that help to minimize the impact textiles have on our environment, such as biodegradability. Aran Tweed spun in Kilcar, Donegal provides structure and depth to the cloth, while chunky mohair and bouclé inject tactility.
The provenance of these fibres and hand weaving processes is central to my practice. Tapestry techniques were fused with mechanised weaving processes on an AVL Dobby handloom. Woven Colour exposes how these traditional methods can be used to create exciting, contemporary work, thus keeping the age old craft of weaving alive.
Briefly describe how you look for high profile design competitions to enter?
My tutors in NCAD were a great source for finding out about competitions. They really encouraged me to get involved and provided insights into the application process, keeping me up to date on crucial deadlines. My peers were helpful too, they shared information about potential opportunities.
Social media can be a great platform to find out about competitions. By connecting with artists and designers online you see what they share about upcoming or past events. This gives you an insight into previous work that was successful. From here a web of sources can form as you are constantly being invited to follow other contemporaries.
Reading quality magazines within your discipline. These can feature articles about particular artists/designers, sharing their backstory which can sometimes involve taking part in competitions. These magazines advertise upcoming opportunities too and provide information on how to enter.
Organizations like DCCI (Design Craft Council Ireland) and Visual Artists Ireland display opportunities on their websites and these are updated regularly. Signing up online for newsletters from platforms like these is a beneficial way of staying in touch with new competitions or events.
Briefly describe the work that goes into submitting a professional design competition entry?
Depending on the competition there will usually be a section for writing about your work. This will either be a short synopsis or a longer, more in depth short essay. It is important to adhere to the guidelines here and spend some time carefully writing. The synopsis should be brief but intriguing, getting across some important factors about your work. The longer version can delve more deeply into the different elements, but needs to stay focused, don’t add in sentences just for the sake of it.
The imagery submitted is a crucial part of the application process. High quality photos are essential, showcasing your work from different angles, showing detail, highlighting the successful qualities is important. You want to show how great your work is and you want it to stand out. A white background works well for photographing most work, sometimes the simpler the composition, the better. Allocate a lot of time for taking photos and video as the editing can take longer than expected. Take note of the imagery specifications, make sure the photos you upload are the correct size, format etc.
Briefly describe what was it about your submission that made it stand-out from the competition?
My individual use of colour and composition meant my imagery was eye-catching and aesthetically pleasing. The tactility of Woven Colour provides comfort and sparks intrigue for the viewer, enticing them to reach out and feel the textures and explore the intricate details woven throughout.
Including images detailing my process gave a great insight into my work ethos and the story behind my work. I think showing this encouraged the viewers to connect with my work and understand it. We shouldn’t assume the judges know how we got to the end result. Showcasing the development of techniques used reveals the work and learning that may not be obvious by only looking at the end design.
Spending time writing and editing for the submission helped to provide a clear insight into my methods, aims and thought process. For me, I have to write and read over and edit a few times before I am happy. This vital time I invested into my applications showed the dedication I have for my practice.
Briefly describe what impact will your design competition success make?
The impact of winning a Future Makers award is huge. The award ceremony itself was filled with encouraging speeches on how important craft and design is in Ireland. Hearing these and being a part of the event gave me a great boost of confidence going forward with future work.
The exposure connected to competitions like this is highly beneficial. Having my work featured on DCCI’s online platforms means an abundance of people, companies etc. will have the chance to see my work and learn more about it.
Having this prestigious award on my CV and LinkedIn page adds incredible value and recognition to my practice.
With the funding from this award I was able to put it towards the purchase of my own Dobby handloom. This was a major aim I had after finishing my MA, as the equipment used for Woven Colour was all based in NCAD. Buying a loom has enabled me to continue with my practice independently and has opened up endless possibilities for future projects.
