Part the Third. . . . . How Many Stitchers…?

In part, this collection is a repository of different means of re-creating a known artwork; a collection of memories and practice as well as encountered difficulties of execution and, of course, non completion.

In critical theory terms, craft theorists such as David Gauntlett (2011) and Glenn Adamson (2010) have emphasised the value of making as a form of identity construction and social connection. Gauntlett describes craft as a process of "meaning-making" that enables individuals to feel empowered, capable, and expressive. Adamson adds that craft blurs the line between utility and art, especially when traditional practices intersect with contemporary cultural forms. Tapestry kits exemplify this: they are both kitsch and cultural, both leisure and labor.

So, what is the middle ground between heritage techniques/practice and creating art?