Challenging anonymity in design

Although the term “artisan” is much used — and abused — in a contemporary context, its roots can be traced back to a time when there were fewer conceptual and practical divisions between fine artists and craftspeople. It was a point made in the Victorian era by William Morris and John Ruskin of the Arts and Crafts movement.

The invisibility and anonymity of masons, metal workers, cabinet makers, glass artists and a whole host of others is a historical and cultural scandal. In a small but deliberate way, the current show by Collect Scotland — a textile design collective producing printed textile designs for industry, established in 2012 — aims to redress this. The show includes work produced over the past four or five years, as well as specially commissioned pieces by 15 designers. This vibrant and individual work is an important and developing part of a Scotland-based creative economy.

“They influence almost everything you see around you, but you probably won’t know their names,” Collect says about members of its profession. The curators, who include Marion Parola and Chloe Highmore, have conceived and designed a show that makes good use of the large rugged space in this former printing works.

Expansive banners of individually printed textiles flow from wall to floor like an unfolding sculptural narrative. There is a profuse outburst of creative imaginings, transformed through digital and traditional technologies as patterned motifs.

A display showing the process from initial idea to finished textile would have helped to redress a potential knowledge gap in its audience, but the show cannot be faulted for drive, enthusiasm, innovation and flair.