Holly Goodridge Critical Annotation

In reflecting on the critical frameworks explored in my artist dossier, the unifying theme across the ten artists is an engagement with materiality, labour, and the transformation of spaces—whether through physical, architectural, or conceptual means. This exploration frequently questions the boundaries between craft and fine art, celebrating the fluidity and inclusivity of both forms.

A key critical framework I’ve engaged with is the relationship between material agency and human labour, often drawing from feminist, neurodivergent, and post-human perspectives. Artists like Jacqueline Surdell and Jesse Hickman ground their work in the physicality of labour and the significance of material. Surdell's expensive sculptural ropes and Hickman's minimalistic burlap pieces speak to the idea of labour-intensive processes as a form of communication between the artist and the material, something that deeply resonates with my own practice of crochet as both art and self-regulation.

Another recurring theme is the investigation of personal and collective identity through material-driven processes. Julien Creuzet's engagement with diaspora and identity, Sheila Hicks' use of woven textiles to challenge artistic boundaries, and Mikala Dwyer's embodied installations all offer various ways of incorporating personal narratives into their work. These ideas of identity, particularly those of marginalisation, are central to my own work, which often explores neurodivergence and queerness. My use of yarn, crochet, and soft, tactile materials becomes a way to speak to these experiences, crafting inclusive spaces of safety and sensory engagement.

The community of practice represented here spans the intersection of textile artists, post-minimalist sculptors, and those working at the boundary of craft and conceptual art. Many of these artists embrace mediums traditionally seen as "low" or domestic, elevating them to fine art, as seen in the practices of Sheila Hicks, Lara Merrett, and Amelia Briggs. This community validates my own use of crochet, often perceived as a craft, by situating it within larger discourses on materiality, labour, and inclusion.

The selection of these artists was guided by their resonance with my evolving interest in materiality and how materials speak to identity and the body. Jesse Hickman's focus on simplicity and found materials inspired a new direction in my practice as I explore the potential of different textures. Mikala Dwyer, as a direct mentor, has been fundamental in shaping my confidence in pursuing a materially driven practice that challenges conventional academic hierarchies.

The one troubling thing I have noted is the makeup of my artists, 2/10 are POC, this is something I need to be mindful of in the future and make sure I am looking at and responding to a broader more diverse range of artists.

By analysing these artists, I have been able to see my own practice in a more critical light. Their works challenge me to consider how materiality, space, and identity intersect in my crochet-based works and encourage me to push the boundaries of my chosen medium.