Bigger Isn't always better

Abstract

The growing number of exhibitions of miniature textiles is noted, the practical reasons for this and the interaction with the world through fiber. The 1960s and 70s saw the emergence of miniature textiles as part of the art-fabric movement - uniting the roles of artist-designer and craftsperson-maker - and there is more on this. The first full-scale international exhibition of mini-textiles opened in 1974 in London, and a discussion of the scale of the work involved follows. A quotation from Henry Moore on scale leads on to further exploration with regard to miniature works, and the influences and objects which can determine scale in textile pieces. Judith Brotman's Sacrificial Glove is reviewed as an example. Baskets have strongly influenced art fabrics and many miniature textiles relate to this functional and aesthetic heritage. Here the example cited is Patti Lechman's knotted Samadhi (1994). Other references to basketry include Dorothy Gill Barnes's Outside In. Maximum impact can be achieved by smallness and sheer skill. The current proliferation of mini-textile exhibitions is summarised in Hungary; Angers, France; Como, Italy; the Baltic and the USA.