Dunlop Tartan (Tape Warp #2)
Scotland’s highland tartans were originally associated with particular areas rather than specific families or clans. Like many regional works of craft, the designs were reliant on available dyes and patterns were worn as a matter of personal preference as opposed to an adherence to family until as late as the 19th century.
Les and Kate’s latest series, tartans comprised of woven adhesive tapes is a collaboration influenced by their familial roots. Originally from Canada's east coast, where tartans are ubiquitous and their clans readily identified, Kate and Les eschew finding meaning within these prescribed designations and work with the intent of freeing these patterns from the rigid constructs of historical narrative. The use of various types of tape (including construction, packing, sports and medical tapes) creates an unexpected commentary on the perceived tribal nature of tartans. Banned and vilified, before being reclaimed and relegated to a taxonomy of heritage, the patterns have become symbols of familial pride, regionalism and nascent militarization. The medium – common and often inexpensive adhesive tape - is particularly ironic in relation to the emergence of tartans registered by leading fashion houses and the status conferred by . this invented tradition. The selection of readymade and found objects (such as traffic cones) that are often used as three dimensional substrates for their woven tape patterns, further echo and amplify those features most relative to tribe, family, and territory.
Les and Kate’s latest series, tartans comprised of woven adhesive tapes is a collaboration influenced by their familial roots. Originally from Canada's east coast, where tartans are ubiquitous and their clans readily identified, Kate and Les eschew finding meaning within these prescribed designations and work with the intent of freeing these patterns from the rigid constructs of historical narrative. The use of various types of tape (including construction, packing, sports and medical tapes) creates an unexpected commentary on the perceived tribal nature of tartans. Banned and vilified, before being reclaimed and relegated to a taxonomy of heritage, the patterns have become symbols of familial pride, regionalism and nascent militarization. The medium – common and often inexpensive adhesive tape - is particularly ironic in relation to the emergence of tartans registered by leading fashion houses and the status conferred by . this invented tradition. The selection of readymade and found objects (such as traffic cones) that are often used as three dimensional substrates for their woven tape patterns, further echo and amplify those features most relative to tribe, family, and territory.
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