Exploring the convergence of traditional craftsmanship and contemporary technology through the works of Martina Sanchetti and Sveva Conte.
Making is a dialogue between maker and material, a form of paying attention that fosters patience and transformation. Given the pervasive and often pernicious nature of the digital, one is left to wonder: can the correspondence between hand and material find resonance in virtual spaces?
These questions are worth exploring through the practices of Martina Sanchetti and Sveva Conte, two artists in residence at Fabrica in Treviso, Italy. At this centre for interdisciplinary innovation, the artists’ work is particularly suited to explore the meaning of making, as it coalesces the tactile realm of traditional craftsmanship and the potential of technological tools.
Martina Sanchetti’s practice centres on the tactile precision of knit weaving, juxtaposed with the expansive potential of software tools such as Blender. For Sanchetti, the rhythm of weaving is foundational. ‘When I knit, every stitch builds toward something tangible. It’s a process that fosters a deep sense of accomplishment,’ she explains.
Her exploration into virtual platforms offers something that physical weaving cannot: accessibility and boundless landscapes. By transposing her creations into Blender, Martina creates digital environments that can be experienced globally. ‘While the emotional connection to the physical work is stronger, virtual platforms offer endless possibilities — it’s an entirely different way of engaging with my craft.’
The internet — another kind of digital tool — has been a double-edged sword for craftsmanship. While it has democratised access to traditional skills, fostering a revival and safeguarding for craft, it equally risks diluting the perception of labour, with intricate processes reduced to brief, polished videos.
For Sveva Conte, the interplay of mediums takes on a deeply personal dimension. Her work, which is a combination of frottage and video, draws on the materiality and memory of her grandparents’ home. Frottage, requiring physical presence and direct contact, transfers the essence of the space onto paper. ‘It’s a true copy of an original, a direct imprint that no digital tool can replicate.’
In contrast, video captures the intangible — dreamlike images that blur the familiar and unfamiliar, the past and present. ‘Through video, I explore the emotional and fragmented experience of the house: something frottage cannot convey,’ Sveva clarifies. She views analogue and digital as complementary. ‘Having more tools is an asset, not a loss. Each technique has its own potential, dictated by the idea it serves. With more options than in the past, the choice is even more important.’
Through their work, Martina and Sveva highlight the evolving nature of craftsmanship. By attending to both material and medium, they show how making remains an act of care that bridges tradition and innovation.
Text by Georgia Satchwell
