Craft lends itself to metaphor, to personification. If one of the classic (although not universal) markers of craft is the touch of the hand, the use of the body, it's easy to understand a personal identification with the process and product of human labour and talent. When we talk about clay, so often we talk about the body as vessel, the skin as clay, from dust we came...
To identify strongly with a process of craft takes a great deal of introspection, particularly when so many craft processes result in casual failure. The idea of unraveling, as presented by Stephanie Dansler, rings so true in my anxious, little heart. I fear I'm not much of a knitter, either.
Give it a read here.
Mary Callahan Baumstark is a maker, writer, and researcher with an M.A. in Contemporary Art, Design, and New Media Art Histories from OCAD University in Toronto, Ontario. She is interested in trendspotting in contemporary ceramics and organizing socially engaged or activist projects. She is the current Resident Art Historian for the Socially Engaged Craft Collective.