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Arts & Communication Textile agency in art

of fabrics, mingled matters, and “material agency,” Materiality, agency, and models of narrativity. Ecozon@,
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reality. This approach to textiles as a special field of artistic 3. Barthes R, 1998, The Pleasure of the Text. Translated by
practice and thought precisely characterizes the work of Richard Miller, with a note on the text by Richard Howard.
Monika Žaltauskaitė Grašienė, for whom fiber art serves New York: Hill and Wang, p. 64.
asa medium to contemplate the fabric of our being. 4. Harris J, editor, 2016, Art Textiles: An extraordinary
The cross-analysis of her artwork reveals that cloth, Medium, in Art Textiles. Manchester: The Whitworth, p. 8.
rag, fold, and veil are central agents that provide visual 5. Millar L, 2018, Introduction: The matter of material.
and conceptual cohesiveness to her textile creations. TEXTILE Cloth Cult, 16: 254–258.
These conceptual agents interweave various threads https://doi.org/10.1080/14759756.2018.1432127
of cultural references, folding layers of meanings that
express in-betweenness and multiplicity, and providing 6. Serres M, 1994, Atlas. Paris: Editions Julliard, p. 45.
us with a kind of model for understanding contemporary 7. Vitkienė V, 2013, Laima Oržekauskienė ir naujoji tekstilės
transformations. In her artistic practice, she develops menininkių karta. Acta Acad Artium Vilnensis, 70: 111–138.
an ontology of textiles that resonate with a new turn in 8. Šatavičiūtė L, 2020, Po Paslapties Skraiste. Vol. 6. 7 Meno
contemporary humanities, focusing on material matters Dienos, 33 (1354). Available from: https://www.7md.lt/
and the textility of life – the being-with-others-in-the- daile/2020-10-02/Po-paslapties-skraiste.
world concept in common networks of a textile nature.
9. Serres M, 1998, Les Cinq Sens. Paris: Hachette, p. 97.
Acknowledgments 10. Anzieu D, 1985, Le Moi-Peau. Paris: Dunod.

None. 11. Kreivytė L, 2012, Kūnų be Organų Lygybė. Vol. 5. 7 Meno
Dienos, 3 (971). Available from: https://archyvas.7md.lt/
Funding lt/2012-01-20/tarp_disciplinu/kunu_be_organu_lygybe.
html
None.
12. Deleuze G, 1988, Le Pli: Leibniz et le Baroque. Paris: Minuit.
Conflict of interest 13. Dormor C, 2020, A Philosophy of Textile-Between Practice
The author has no conflicts of interest to declare. and Theory. London, New York: Bloomsbury Publishing,
p. 12.
Author contributions 14. Frontisi-Ducroux F, 2010, Ouvrages de dames: Ariane,
Hélène, Pénélope. Paris: Éditions du Seuil, p. 64.
This is a single-authored article.
15. Harris J, 2016, Art textiles, an extra/ordinary medium. In:
Ethics approval and consent to participate Harris J, Barnett P, Bryan-Wilson J, George A, editors. Art
Textiles. Manchester: The Whitworth, p. 16.
Not applicable.
16. Guerin F, 2018, Reinvention and perpetuation. The
Consent for publication possibility of grey for Gerhard Richter. In: The Truth Is
Always Grey: A History of Modernist Painting. Minneapolis:
Permission from the artist, Monika Žaltauskaitė Grašienė, University of Minnesota Press, p. 215–276.
was obtained to publish artwork images.
17. Narušytė A, 2015, Fantasmagorija X. Vol. 6. 7 meno dienos,
Availability of data 42 (1148). Available from: https://www.7md.lt/tarp_
disciplinu/2015-11-27/Fantasmagorija-X
Not applicable.
18. Žaltauskaitė Grašienė M, 2015–2016, Cabinet in memory of
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Volume 1 Issue 2 (2023) 11 https://doi.org/10.36922/ac.1867