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
Score: Mechanical Asynchronicity (2019) The Space at Nottingham Contemporary as part of public programming for Still Undead, the Nottingham chapter of the Bauhaus Imaginista international project, with Martin Scheuregger and the Dark Inventions ensemble, Nottingham
Her Words, My Voice (2020/22) Performative reading at various locations
Score: Mechanical Asynchronicity (2019) Ruskin Gallery, (with Martin Scheuregger and the Dark Inventions ensemble), Cambridge
Associated Thoughts on Line (2019). A live reading as part of CONVOCATION: on Expanded Language-Based Practices within the Research Pavilion at the 58th Venice Biennale. See more about the CONVOCATION HERE
Score No. 2 (2018), 1-hour live performance of sound and film. 20-meter punch card played on 20 note & 20 notes music boxes with projected film.
Score (2018), 5 min Fragment of the 1 hour piece
