Textile Patterns - Spatiality and pattern relations in fabrics Using Guzman’s Unitary Sequencing Model Method (USMM).
A comparative analysis of knitting genetic parameters using a Stoll CMS 320 C - Jacquard breisels machine on: Wol, alpaca en acryl /// 40 x 60 /// 60 x 90 /// 76 x 113 cm.
This series of fabrics are created from traditional Indigenous Panamanian and Guatemalan graphic patterns, mixed with Guzman’s DNA sequencing, using a spatial redistribution sequential order algorithm, what Guzman call: Unitary Sequencing Model Method.
USMM create different vector patterns in the integral composition of the fabric sequences, using computerised data augmentation techniques to create random design patterns that pushes the DNA sequences to be form in different ways, redesigning in this way the pattern structure of the original DNA sequences used in many of Guzman’s past projects.
This technique brings endless possibilities for the use of genetic data, and create a magnificent way for the development of versatile contemporary textile patterns that can be use in analogue traditional technologies. Guzman had studied both traditional embroidery patterns used by Afro Panamanians and ritual cloths used in Native Panamanian culture. Central to this research is that Panamanians of Afro, Spanish and Native decent share a identical DNA pattern.
Unitary Sequencing is a synthesis of DNA identify markers, such as genetics tests, genome markers and hand-sewn carpets in Latin America. The concrete function of the repetitive sequencing textile, raises the level of abstraction of the pattern. The fabrics are characterised by geometric, and monochromatic expressions, and create a conceptual imagery with the visual qualities of kinetic and programmed art.
Guzman consistent use of black and white force the viewer to focus on the actual expression of the installation, through the use of a minimalist vocabulary. The pattern fabrics distort the way in which people perceive reality. The shifting geometric pattern is formed and showcased as both light and void, using archetypal elements of DNA, Maya architecture and Panamanian Indigenous graphic patterns.
The main result demonstrate the expressional possibilities that a surface pattern provides in a defined textile space, and how this is connected to the notion of pattern relations and migratory aesthetics.
In collaboration with Atelier Breienbreien - TextielLab Tilburg.