The Hand
Are we human? The answer is yes, not because of our appearance, but because of the artifacts we are still able to make. We believe that the greatest contribution of machines may be to remind us how important hands still are. We are certain of very few things, but if there is one thing we believe without hesitation, it is that the mind and the hands are capable of creating complexity.
Touch is a sense we develop instinctively and in a primordial way, but one that can evolve through practice and repetition. There is a term for this sensory development: localized knowledge. The medieval goldsmith formed judgments by rolling and pressing metal between the fingers until identifying a point that appeared impure.
From this tactile evidence, it was possible to understand the nature and characteristics of the material as a whole. The same process remains essential today in textile making. Those who weave and mend, even while working alongside machines or using tools, are required to constantly exercise their own sensitivities. Much like a religious ritual, repetition gives stability to the experience without making it predictable, preserving each time the expectation that something new may happen.
It is within these imperfections that we learn something positive about being human. Error, divergence, and the ability to return to a seemingly impossible problem remain exercises that require a tactile sensitivity that cannot be replicated.
The same hands that can caress a face and change another person's day are also tools through which philosophies and ideas take shape.
Vanessa Bell replica Rug, 1932 design, via Sothebys.
Opening room of the Omega Workshops, 33 Fitzroy Square, London, © The Charleston Trust.
If in our last email exchange we spoke about the Arts & Crafts movement and William Morris, we would now like to introduce a figure who will accompany our research over the coming months.
Remaining in England, we have recently been exploring the work of Vanessa Bell and the activities of the Omega Workshops. Founded in 1913 by Roger Fry, the Workshops brought together artists, designers and makers in the production of furniture, textiles, ceramics and everyday objects. Vanessa Bell, Duncan Grant and many other members of the Bloomsbury Group contributed to this collective experiment, one that would later influence generations of studios across art, craft and design. Between art and commerce.
Beyond the spirit of this open laboratory, what connects us most is Vanessa Bell's philosophy of making. From childhood, she created rugs using scraps, remnants of fabric and tea towels found around the house. It was part of a holistic philosophy of living that included making and mending her own clothes.
In many ways, this philosophy reflects a broader understanding of craft. The craftsman became an emblem of human experience, shaped through the value placed on variations, flaws and irregularities in handwork.
Bloomsbury menu for the dinner to celebrate Omega Workshops opening, by either Vanessa Bell or Duncan Grant © The Estate of Vanessa Bell.
