Melanie Olde is an Australian artist with professional experience in art, production weaving, research and teaching. In addition to a BA (visual) and her current MA, Melanie has studied nationally and internationally and is a compulsive researcher. Her artistic practice has involved researching cellular structures for form, function, and array to interpret these in biomimetic, moving, woven 3-dimensional forms. She is currently investigating woven systems as a metaphor for complex life-system models, working first with digital applications then symbiotically with her loom to process and create physical/digital woven artworks. She regularly exhibits and publishes nationally and internationally. She recently won awards in consecutive international Complexity weaving exhibitions, presented and exhibited at Bridges Mathematics/Art Conference in Helsinki, Finland, and gave lectures and workshops in New Zealand. She is currently a sessional lecturer at ANU School of Art.

‘Complex systems are all around us. We are part of the living system.

‘My work is in continual evolution, from a fascination of plant cellular structures into an intrigue of how small components of natural systems create complex emergent forms. How can we explore these ideas through cloth creation, and what new knowledge will this offer?

‘Weaving is a system of threads, whose ‘cell’ is where the warp and weft threads touch. The instructions, or algorithms, to these simple cells offer opportunity to create new forms and emergence. Creating the instructions, then relinquish control to the material and form creates an object that is the symbiosis of maker, biology, loom, material and every small cell.

‘While I use digital applications within my methodology, and my loom is computer controlled, I also often consider my loom as a processor - a physical extension of myself, computing my questioning and ideas.

‘My hand-woven 3-dimensional forms, delve into the dichotomy of a complex system of threads creating simplified cellular forms. Drawing inspiration from artificial life models such as cellular automata and plant growth algorithms, I engage in experimental weaving practices that question both the loom as a processor, and increasing societal tension and opportunities for artificial mimicry of the natural world.

‘I often use contrasting materials of natural and synthetic threads to weave multiple systems of organic cellular structures. The resulting contrast and similarity between the materials prompts the viewer to question what constitutes 'artificial'.

‘Through the experimental nature of the materials and weave structure, the forms move organically, reminding the viewer that synthesized natural forms can occur from a simple set of instructions. Through my explorations, I aim to inspire viewers to consider how technology can be used to mimic and reflect upon the complex beauty of the natural world.’