Nartker believes an animation can tell a story without having to rely solely on a narrative. \u201cThere\u2019s other ways to glean meaning, from the color interactions and the structural connections.\u201d <\/p><\/div><\/blockquote>\n\n\n\n
Other animated weavings in her collection show lovely fleeting moments, like her sister riding a 10-speed bike or kids gleefully see-sawing, found on her father\u2019s old VHS tapes of home movies. There\u2019s one where a TV is playing an old VHS tape, and Nartker accounted for bad tracking with woven distortions rolling up the screen. She says that represents a theme of her early work. \u201cIt was really about this connection between the way materials degrade, like a VHS tape, or thread on a dress, and how that parallels the way we think about memory and the way we think about things,\u201d she says.<\/p>\n\n\n\n
\u201cIt\u2019s sort of like a visual material representation of what happens to us.\u201d<\/p>\n\n\n\n\n <\/figure>\n\n\n\n\n <\/figure>\n\n\n\n <\/figure>\n<\/section>\n<\/section>\n\n\n\n\nNartker, right, waits before the Jacquard loom with lab technician Lauren Reggi in the basement of the Wilson College of Textiles. That particular type of loom enables weavers to create pictures and images, instead of only patterns, on cloth. Nartker, above, sits in front of the weavings she animated to tell the story for \u201cWhose Woods Are These.\u201d It takes a week or so to complete one weaving, from all the computer work she does on the front end to when the scene comes to life on film.<\/figcaption><\/figure>\n<\/section>\n\n\n\nA Little Nugget<\/h4>\n\n\n\n One of Nartker\u2019s weavings on display in the lab stands out. The initial panels at the top show a black and white forest of trees blocked off by heavy black frames on the right and left. A couple of rows down, a silhouetted body peeks out from the right and enters the scene as the frames progress. The figure stands sturdy in what is a doorway. By the last panel, the figure disappears from the frame and the woods come alive. When animated, it will take the viewer into the scene. The technique illustrates what Nartker believes film can accomplish that textiles, unanimated, can\u2019t. \u201c[Textiles] don\u2019t invite the viewer to look in at a specific focal point,\u201d she says. \u201cIt leaves you at the surface.\u201d<\/p>\n\n\n\n
That figure there is Nartker\u2019s protagonist in \u201cWhose Woods Are These,\u201d an imagined 19th century American woman who escapes her domestication to explore the romance of the natural world outside her door. Nartker says when she first conceived of making this movie in 2012, she didn\u2019t know where her protagonist may end up. \u201cI just started by having her walk. Walk toward the woods,\u201d she says. \u201cAnd then I, at some point, decided I wanted her running away. This was a decision she made, to leave.\u201d<\/p>\n\n\n\n
I just started by having her walk. Walk toward the woods. And then I, at some point, decided I wanted her running away. This was a decision she made, to leave.<\/p><\/div><\/blockquote>\n\n\n\n
Nartker doesn\u2019t know what Julianna Hofrichter, her great-great-great-great grandmother, decided or where she ended up. Nartker says she first heard of this family legend when she was in graduate school animating weavings. \u201cThere\u2019s just this little nugget,\u201d she says. \u201cI was working with my dad\u2019s footage and kind of digging into my family\u2019s history, and this was mentioned.\u201d<\/p>\n\n\n\n
Nartker didn\u2019t find much to help fill in the family myth. She has a couple of maps from the era depicting what Henry County, Ohio\u2009\u2014\u2009Nartker grew up there in the city of Napoleon\u2009\u2014\u2009looked like in the 1840s and some genealogical lists. She has some writings from the county\u2019s historical society describing the wild, dense forests of northern Ohio. And she has a 1930 interview the Napoleon<\/em> (Ohio) Northwest News<\/em> conducted with her grandfather, who had gone to gather hickory nuts with Hofrichter, his grandmother, on the day she disappeared. It\u2019s the only record providing any details of Hofrichter\u2019s disappearance. \u201cI got tired and she helped me home and went on to pick more nuts,\u201d he said. \u201cGrandfather came home in about an hour and on learning where she was, set out immediately to meet her, saying we should not have left her thus alone.\u201d The family and neighbors searched, but never found her.<\/p>\n\n\n\nNartker\u2019s fine with not knowing Hofrichter\u2019s fate. It allows her to explore. It permits the maybe. \u201cI prefer . . . imagining this story of her just wanting to live this wild life,\u201d she says. \u201cIt\u2019s kind of exciting to imagine some woman in the 1840s running away from all her responsibilities.\u201d<\/p>\n\n\n\n
\u201cIt\u2019s kind of exciting to imagine some woman in the 1840s running away from all her responsibilities.\u201d <\/p><\/div><\/blockquote>\n\n\n\n\n\n <\/figure>\n\n\n\n <\/figure>\n<\/section>\n<\/section>\n\n\n\n\n\n <\/figure>\n\n\n\n <\/figure>\n<\/section>\n<\/section>\n\n\n\n\n\nA sampling of woven cells from Kate Nartker\u2019s animated film \"Whose Woods Are These.\"<\/figcaption><\/figure>\n\n\n\n <\/figure>\n<\/section>\n<\/section>\n\n\n\nA Material Girl<\/h4>\n\n\n\n Nartker plans to finish \u201cWhose Woods Are These\u201d by the end of this year. (She\u2019s a little sidetracked now, lecturing in Sweden as one of four of NC State\u2019s 2022\u201323 Fulbright Scholars.) When the film is done, she plans to submit it to the Sundance Film Festival. And she\u2019ll have an exhibit featuring the weavings that tell the story. By the time she\u2019s finished, she\u2019ll probably have woven at least 200 feet of cloth for her seven-minute short.<\/p>\n\n\n\n
Though the short is longer than anything she\u2019s done, her themes are still there. The movie contains a close-up of an owl\u2019s head that flickers between clarity and distortion. \u201cThere\u2019s a lot of inquiries into abstraction. I think I have a lot of examples of this where the image comes in and out of focus,\u201d she says. \u201cIt\u2019s this new way of abstracting an image by its own physical makeup.\u201d And the film even includes some Easter eggs. There\u2019s a scene of the protagonist walking in the woods. The imagery soon turns into a scene of a fabric waving in the wind. The weaving on that fabric is a nod to a historic pattern from Anna Maria Garthwaite, one of only a handful of prominent female textile designers in the 18th century.<\/p>\n\n\n\nKate Nartker included this weaving in her film as a nod to a historic pattern from Anna Maria Garthwaite, a prominent female textile designer in the 18th century.<\/figcaption><\/figure>\n\n\n\nWhen asked about her process, Nartker admits it\u2019s been piecemeal, calling on a textiles analogy to explain. \u201cIt\u2019s not at all been a linear thing,\u201d she says. \u201cIt\u2019s almost like making a quilt, taking pieces of this and pieces of that.\u201d<\/p>\n\n\n\n
Nartker again depends on that same image of a quilt to capture the main reason the film holds a logical spot in her progression as an artist\u2009\u2014\u2009it\u2019s that she has an essential belief in the material.<\/p>\n\n\n\n
\u201cTextiles tell a story on their own,\u201d she says. \u201cIf you save a quilt and it passes down from one generation to the other, it\u2019s threadbare and it\u2019s been mended.<\/p>\n\n\n\n
\u201cThose are stories.\u201d<\/p>\n\n\n\n
See Kate Nartker\u2019s animated weatings as well as a preview for \u201dWhose Woods Are These.\u201d https:\/\/www.katenartker.com\/<\/a><\/p>\n\n\n\n<\/p>\n"},"excerpt":{"rendered":"
Kate Nartker weaves her magic \u2014\u2009then animates it\u2009\u2014\u2009to show a whole different side to textiles.<\/p>\n","protected":false},"author":35,"featured_media":3641,"comment_status":"open","ping_status":"open","sticky":false,"template":"views\/single-immersive.blade.php","format":"standard","meta":{"_acf_changed":false,"source":"","ncst_custom_author":"","ncst_show_custom_author":false,"ncst_dynamicHeaderBlockName":"ncst\/default-immersive-post-header","ncst_dynamicHeaderData":"{\"backgroundColor\":\"green_400\",\"caption\":\"\",\"displayCategoryID\":5,\"showAuthor\":true,\"showDate\":true,\"showFeaturedVideo\":false,\"subtitle\":\"Kate Nartker weaves her magic \u2014\u2009then animates it\u2009\u2014\u2009to show a whole different side to textiles. Photography by Marc Hall \u201920, MA.\"}","ncst_content_audit_freq":"","ncst_content_audit_date":"","footnotes":""},"categories":[8,9],"tags":[86,93,127,190,455,634,1036,1117,1144,1151,1257,1265],"_ncst_magazine_issue":[],"class_list":["post-3639","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-newswire","category-stories","tag-anna-maria-garthwaite","tag-apocalypse-tapestry","tag-bayeux-tapestry","tag-california-college-of-arts","tag-fulbright-scholar","tag-kate-nartker","tag-san-jose-institute-of-contemporary-art","tag-sundance-film-festival","tag-the-contemporary-austin","tag-the-museum-of-craft-and-design","tag-whose-woods-are-these","tag-wilson-college-of-textiles"],"displayCategory":{"term_id":5,"name":"Best Bets","slug":"best-bets","term_group":0,"term_taxonomy_id":5,"taxonomy":"category","description":"","parent":0,"count":52,"filter":"raw"},"acf":[],"_links":{"self":[{"href":"https:\/\/magazine.ncsu.edu\/wp-json\/wp\/v2\/posts\/3639"}],"collection":[{"href":"https:\/\/magazine.ncsu.edu\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/magazine.ncsu.edu\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/magazine.ncsu.edu\/wp-json\/wp\/v2\/users\/35"}],"replies":[{"embeddable":true,"href":"https:\/\/magazine.ncsu.edu\/wp-json\/wp\/v2\/comments?post=3639"}],"version-history":[{"count":0,"href":"https:\/\/magazine.ncsu.edu\/wp-json\/wp\/v2\/posts\/3639\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/magazine.ncsu.edu\/wp-json\/wp\/v2\/media\/3641"}],"wp:attachment":[{"href":"https:\/\/magazine.ncsu.edu\/wp-json\/wp\/v2\/media?parent=3639"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/magazine.ncsu.edu\/wp-json\/wp\/v2\/categories?post=3639"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/magazine.ncsu.edu\/wp-json\/wp\/v2\/tags?post=3639"},{"taxonomy":"_ncst_magazine_issue","embeddable":true,"href":"https:\/\/magazine.ncsu.edu\/wp-json\/wp\/v2\/_ncst_magazine_issue?post=3639"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}