She was a weaver, prominent in the Bauhaus group, and I wonder how much inspiration she gave to fabric designers Collier Campbell, whose work I have also long admired. (Coincidentally I discovered that there is currently an exhibition of quilts inspired by the Bauhaus.)
In considering grids the challenge is to eliminate, to think about what it is that entices, what might possibly work for me.
I am attracted to photographing grids, such as this path of broken shells:
But mostly the grids which seem to attract me most to photograph are accidental,
I used grids directly when I was designing patterns for my knitting machine. Here are some doodles showing the template,
and here is an actual design.
Early in my stitching career I did use galvanized mesh (meant for making pet cages!) in some of my pieces - perhaps I was feeling particularly caged at the time?!
Discomforter: Rough edges (detail)
Measured response (seen framed)
Sharper (made with pieced felted knitwear triangles, flint, and stitched cotton figures)
Sharper (detail)And in my printmaking I have used grids, either whole-ish, or broken.
Piano player (drypoint with chine collé)
Figures (drypoint with chine collé)
Tilt (drypoint with chine collé)At the end of this current exercise I used a couple of broken grid ideas to come up with this:
which could well be the beginning of something worth taking further.