Her Words My Voice (2021)
Cormorant Garamond is a classic font with a modern twist. It's easy to read on screens of every shape and size, and perfect for long blocks of text.
No Telos! (2019)
No Telos is a collaborative artistic research project for exploring the critical role of uncertainty, disorientation, not knowing and open-ended activity within creative practice and during uncertain times. The project considers different tactics for resisting the increasingly outcome-motivated or achievement-oriented tendencies of contemporary culture, by shifting emphasis from a mode of telos- or goal-driven productivity towards experimental forms of process-led exploration, subversive playfulness and wilful irresolution. No Telos was conceived as a counter-measure to the ubiquitous demands to do more and more — faster and faster. This artist's book comprises a series of 'scores' drawing on exercises and practices first developed and tested in Venice. The city is is approached as a live laboratory for artistic research. This highly tactile edition is printed with multiple special features including a screen printed cover, multiple speciality papers, french folds, Risograph printed sections and removable inserts.
Contributing artists: Andrew Brown, Emma Cocker, Steve Dutton, Katja Hock, Tracy Mackenna, Danica Maier, Andy Pepper, Elle Reynolds, Derek Sprawson Edited by: Emma Cocker and Danica Maier
Purchase at Beam here: No Telos!
Grafting Propriety: From Stitch to the Drawn Line (2016)
Grafting Propriety: From Stitch to the Draw Line explores how textile agendas can be addressed without the use of the material. For example, how textile methodology can be recreated in drawing and the drawn stitched line. Using a recent textile research residency and a solo exhibition Stitch & Peacock at The Collection Museum, Lincoln - as the starting point to focus on a particular aspect of Maier's work.
The publication further examines drawings created during an international residency at the abandoned Spode Factory; research projects involving the use of digital embroidery combined with the drawn line; and works using historical popular surface pattern. Featuring photographs of various archival pieces, early and new artworks, and essays from leading experts in the field, acting as a resource and documentation for Maier's exploration of stitch through the drawn line.
Purchase on amazon here: Grafting Propriety or contact me direct.
Her Words My Voice (2021)
Cormorant Garamond is a classic font with a modern twist. It's easy to read on screens of every shape and size, and perfect for long blocks of text.
No Telos! (2019)
Her Words My Voice (2021)
Cormorant Garamond is a classic font with a modern twist. It's easy to read on screens of every shape and size, and perfect for long blocks of text.
Bummock: Tennyson Research Centre (2022)
Bummock: The Lace Archive (2018)
No Telos is a collaborative artistic research project for exploring the critical role of uncertainty, disorientation, not knowing and open-ended activity within creative practice and during uncertain times. The project considers different tactics for resisting the increasingly outcome-motivated or achievement-oriented tendencies of contemporary culture, by shifting emphasis from a mode of telos- or goal-driven productivity towards experimental forms of process-led exploration, subversive playfulness and wilful irresolution. No Telos was conceived as a counter-measure to the ubiquitous demands to do more and more — faster and faster. This artist's book comprises a series of 'scores' drawing on exercises and practices first developed and tested in Venice. The city is is approached as a live laboratory for artistic research. This highly tactile edition is printed with multiple special features including a screen printed cover, multiple speciality papers, french folds, Risograph printed sections and removable inserts.
Contributing artists: Andrew Brown, Emma Cocker, Steve Dutton, Katja Hock, Tracy Mackenna, Danica Maier, Andy Pepper, Elle Reynolds, Derek Sprawson Edited by: Emma Cocker and Danica Maier
Purchase at Beam here: No Telos!
No Telos! (2019)
No Telos is a collaborative artistic research project for exploring the critical role of uncertainty, disorientation, not knowing and open-ended activity within creative practice and during uncertain times. The project considers different tactics for resisting the increasingly outcome-motivated or achievement-oriented tendencies of contemporary culture, by shifting emphasis from a mode of telos- or goal-driven productivity towards experimental forms of process-led exploration, subversive playfulness and wilful irresolution. No Telos was conceived as a counter-measure to the ubiquitous demands to do more and more — faster and faster. This artist's book comprises a series of 'scores' drawing on exercises and practices first developed and tested in Venice. The city is is approached as a live laboratory for artistic research. This highly tactile edition is printed with multiple special features including a screen printed cover, multiple speciality papers, french folds, Risograph printed sections and removable inserts.
Contributing artists: Andrew Brown, Emma Cocker, Steve Dutton, Katja Hock, Tracy Mackenna, Danica Maier, Andy Pepper, Elle Reynolds, Derek Sprawson Edited by: Emma Cocker and Danica Maier
Purchase at Beam here: No Telos!
Topographies of the Obsolete (201,???,)
Grafting Propriety: From Stitch to the Drawn Line (2016)
Grafting Propriety: From Stitch to the Draw Line explores how textile agendas can be addressed without the use of the material. For example, how textile methodology can be recreated in drawing and the drawn stitched line. Using a recent textile research residency and a solo exhibition Stitch & Peacock at The Collection Museum, Lincoln - as the starting point to focus on a particular aspect of Maier's work.
The publication further examines drawings created during an international residency at the abandoned Spode Factory; research projects involving the use of digital embroidery combined with the drawn line; and works using historical popular surface pattern. Featuring photographs of various archival pieces, early and new artworks, and essays from leading experts in the field, acting as a resource and documentation for Maier's exploration of stitch through the drawn line.
Purchase on amazon here: Grafting Propriety or contact me direct.
Grafting Propriety: From Stitch to the Drawn Line (2016)
Grafting Propriety: From Stitch to the Draw Line explores how textile agendas can be addressed without the use of the material. For example, how textile methodology can be recreated in drawing and the drawn stitched line. Using a recent textile research residency and a solo exhibition Stitch & Peacock at The Collection Museum, Lincoln - as the starting point to focus on a particular aspect of Maier's work.
The publication further examines drawings created during an international residency at the abandoned Spode Factory; research projects involving the use of digital embroidery combined with the drawn line; and works using historical popular surface pattern. Featuring photographs of various archival pieces, early and new artworks, and essays from leading experts in the field, acting as a resource and documentation for Maier's exploration of stitch through the drawn line.
Purchase on amazon here: Grafting Propriety or contact me direct.
Danica
Maier
Danica Maier is an American born artist and academic currently living and working between Nottingham, Lincolnshire and beyond. Her practice focuses on the unrepeating repeat, material processes, transposition, conflating expectations, and how an audience looks/listens; as well as the dialogical nature of collaborative projects that foster independent artwork alongside wider group outcomes. Maier’s work uses drawing, site-specific installations, and objects to explore expectations while using subtle slippages to transgress propriety.
Further areas of enquiry include - an exploration of processes (making) through other mediums and the connection to transposition; historical objects re-interrupted and contemporarily re-created; intertextuality of artistic processes as well as within writing/words; words and pattern which sit on the intersection of language and visuals; autobiographical narratives explored through the lens of other sources and staring points; and a dialogical nature of collaborative projects which enable individual practice research to occur.
Danica has been a practising artist since 1995, with an international research profile involving exhibition, publication, performance and guest lecturing (see CV). She started teaching at Nottingham Trent University (NTU) in 2005 and continues to work there part-time as an Associate Professor in Fine Art. From 2009 to 2019 Danica founded and ran the Summer Lodge (www.summerlodge.org), a two-week artist residency held within NTU's Fine Art studios with a focus on practice rather than outcome. Previous posts include Goldsmiths College, London; University of Delaware, USA; London Printworks Trust, Brixton; and Fabric Workshop and Museum, Philadelphia.