Emelie Röndahl

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Crying rya

THIS RESEARCH PROJECT examines a repeated focus on time and slownessthat I have experienced over years in connection with my hand-weavingpractice using the Scandinavian technique of rya. Research through myown studio practice has led me to question a public image of weaving astime-consuming or slow and why temporality is attributed to the finishedobject, while I claim that it is only experienced in the making process.The claim of weaving as slow does not consider the body that weaves. Ihave wanted to highlight the myth of slowness in crafts and handweav-ing that does not always match my experience of the bodily knowledge ofweaving. The aim is to use myself and my own practice as a hand-weavingartist to explore what is beyond these recurring concepts. My knowledgeincludes conditions such as frustration, boredom, irritation, as well asjoy, curiosity and fascination. This research is thus motivated by what Isee as incomplete knowledge, where my contribution consists of under-standing my own practice, with transparency through my own knowledgedevelopment that I hope is useful more generally to future craft research.I have combined my writing with several rya projects made in recent years(2016-2022) structured from a personal perspective around my interest inreflection on artistic practices, my body in making and the figurative ryaweaves I create. My research offers an example of how the connectionbetween claims about weaving as slow and time-consuming collide withthe experience of the development in the studio, as well as with my ownbody, in a hand-making practice.

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