Category Archives: ASSIGNMENT 1

Part 2, Projects 1&2, Stage 4 – Sorting

5 December 2016


Projects 1 & 2, Stage 4 – Storting

Before writing up, I reviewed my samples from all of the exercises and selected the following:

  1. Stand-out favourites
  2. Samples with potential for development
 
My favourites samples were easy to identify: 5 from project 1, and 2 from project 2. These were samples which worked visually as stand-alone objects.
 
Samples with potential are always more difficult to correctly identify, however, I have chosen some individuals and groups of samples to discuss. I will explain why I have chosen them, and how I envisage they might be developed.
 
 
Stand-out favourites

I noticed that my stand-out favourites have one thing in common – they are all three dimensional. I am drawn to geometry and pattern, and in particular, I tend to find samples which can be viewed from different orientations more visually exciting. I have also noticed that most of the samples I have selected from project 1, have a joining method which is visually unobtrusive, and does not directly contribute to the aesthetics of the piece.
 
 
Project 1, exercise 1, sample 6

On_the_table.jpg
The shapes and shadows created by the knots are fascinating. However, this is quite a basic sample, and would need more development to make it worthy of becoming a finished piece. One option would be to join several pieces in this way, so as to construct a more complicated 3-D shape. I could also consider introducing colour and texture. One element I would not change is the string, because that’s what gives the sample it’s distinctive character.


Project 1, exercise 3, sample 4

Cone1.jpg
 
Usually, I choose contrasting rather than harmonious colours, but in this instance the colour scheme is perfect, as it does not dominate. The simplicity of the circle elements allows the more complex shadows to be appreciated. 
 
This is a sample which can be configured into different structures, or potentially joined with other elements into a larger sculpture. Although the choice of material and colour works very well, it might also be worth investigating using semi-translucent plastic instead of cardboard (perhaps with a print suggestive of texture?) However, care would have to be taken not to upset the balance between simplicity of the sample, and complexity of the shadows.
 
 
Project 1, exercise 4, sample 18

Toilet2.jpg
 
The sample is very simply formed from joined semi-circles of cardboard. It is the three-dimensional shapes and tonal variation across the material and within the shadows which provides visual interest. Again, this sample has the appeal of being able to be configured into different structures. 
 
An obvious development would be to introduce colour. I am inclined to think that a single hue would work best, because different colours would add complexity, and the subtlety of tone and geometry could be lost. As an alternative, the sample could be placed against a patterned or coloured surface, or box. Experimentation would be needed to establish whether this enhanced the sample or detracted from it aesthetically.
 
 
Project 1, exercise 5, sample 8
 
Three_together.jpg
 
This sample was derived directly from my sketchbook work (pages 33-34). The appeal is in the 3-D shapes, tonal variation across the surfaces and tonal variation and mirroring of shapes in shadows. I can imagine it being scaled up as a gallery installation (I’m thinking at least 1m diameter circles). Surface texture could be introduced (for example an ‘orange peel’ effect, or ‘hammer finish’ of some enamel-type paints). I can imagine it working well with “perfect” finishes (I’m thinking of the “finish fetish” style of Judy Chicago’s early work). Another idea is to use contrasting textures on the different surfaces – maybe a very shiny reflective surface like a mirror or enamel paint, contrasting with a soft matt, long-pile velvet.
 
In my sample, I have joined three shapes, but I think that the structure would probably be more impressive with five. I wouldn’t want to include any more, because I think it would be important for the viewer to be able to walk around it and see all the surfaces. The card sample is rather unstable and tends to “collapse”, however I’m sure this could be rectified by using thicker material and by gluing the joints.
 
 
Project 1, exercise 5, sample 9
 
View3.jpg
This sample, using Möbius strips, was a development of project 1, exercise 4, sample 14 (see below).
 
Little1.jpg
 
Sample 14 from exercise 4 was basic, but I felt very strongly about it’s potential. I therefore decided to do some sketchbook work (pages 35-38) to guide me in preparation for making another sample. The idea of duplication and making a surface proved effective. There are many more possibilities for exploring alternative materials, shapes and arrangements. I can imagine it being suitable for translating into a large textured wall panel.
 
 
Project 2, exercise 1, sample 7
 
Egg_box.jpg
This sample was supposed to be part of a simple exercise in straight wrapping, but it’s success came from the fact that I got totally absorbed in the process and overstepped the brief. I included weaving and tying which added depth and interest. The colour scheme is exciting and the textures are fun and playful. Together, they suggest a variety of emotional responses and analogies (as I found when I asked for a critique on the OCA discussion forum). I am also very happy with the balance and composition of the sample. The use of different texture, colour and colour accents make it dynamic yet harmonious. I think it works as a sculpture in it’s own right.
 
 
Project 2, exercise 3, sample 5
 
Photo_1_pan.jpg
I used a similar technique and style to the sample above, but I actually prefer this one because it’s larger size allowed a wider range of textures to be used. The use of complementaries also contributes to it’s success. There are repeating elements (for example the pipe cleaners), clusters of colour (e.g. tangled patches of polyester and embroidery threads), elements which add continuity (e.g. the bobble fringe wrapped around the whole piece), and colour accents. It took a lot of effort ,but I am pleased with the depth and textural interest in the piece. I see this as a stand alone item which it works well as a textile scuplture. It is my favourite sample from this assignment.
 
 
Samples with potential for development
 
Project 1, exercises 1 & 2 (straight flush joining, and joining with a gap)
 
I purposely allowed my sampling to be very basic in the first two exercises. I wanted to use them for fact-finding, so that I could learn about the materials and how they behaved. As a result, it has not been particularly easy to see potential for development. 
 
From exercise 1 and 2, I was surprised by the visual interest which came from joining methods which used hard items (such as staples, pins and safety pins – see below from left to right; sample 1 from exercise 1, sample 5 from exercise 1 and sample 1 from exercise 2).
 
Staple.jpgPins.jpgSafety_pins.jpg
 
A blog post by fellow OCA student Nina O’Connor (O’Connor, 2016), made me realise that great results can be achieved with these simple ‘hard’ joining techniques. Her use of subtly patterned pieces or card, different shapes, and complementary colours helped to elevate her work from sample, to an item of real visual beauty. I would plan to develop my samples along these lines taking inspiration from her work.
 
 
Project 1, exercise 3 (joining curved surfaces)
 
Tangle1.jpg
Sample 5 (made from offcuts of sample 4 of the same exercise), is muddled and complex. At present, I don’t like it quite a much as sample 4, although it is still very engaging. However, I can imagine this sample working very well as a sculpture made from plastic. It has connotations of industrial waste, and recycling, which I like. I think this theme could be developed, maybe exploring other shaped offcuts too, perhaps fabricated from metal, foam or rubber?
 
Sample_viewed.jpg
Sample 6 (above) was made using the offcuts from samples 1 and 2 of the same exercise. I think it would work very well as a print design for fabric. It is a versatile pattern which could be used for clothing, homeware or accessories.
 
Project 1, exercise 4 (overlapping)
 
Curved.jpg
Sample 8 (see above) is made from sewn together paper tissue and organza strips, and is exciting because of it’s transparency and suggestion of movement. It would need to be used as part of a textile concept; for example, as a constituent in a piece of clothing or textiles sculpture. At the moment I do not have a clear idea of what that might be, but the sample is sufficiently engaging that it is worth bearing in mind.
 
Plastic.jpg
Sample 16 (above) is fused from pieces of plastic. As a technique it has many possibilities. It can be used alone, or to be used in conjunction with paper or fabric in layering techniques. It can be used or make a mosaic. It can be distressed through the application of heat. It may be sewn onto (either decoratively, or as a joining method). Holes or flaps may be cut into it for added textural interest. The only problem I can envisage is that most plastic bags are biodegradable, so there could be an issue with longevity of the artwork.
 
Plaits.jpg
Sample 17 (above) is an idea that I developed from the work of Machiko Agano. It is a very effective approach to revealing and concealing parts of an image. It is an idea which could be expended and developed with other imagery and in conjunction with semi-transparents.
 
 
Project 2, exercise 1
 
In addition to the multi-thread wrapping, I also loved the simple textures created by wrapping wooden spoons in a single thread type.
 
Spoon_cotton.jpgBandage.jpgFishing_one_1.jpgVine_wrap.jpgThick_rope.jpg
 
I was so taken with them that I sketched every single one before unwrapping. In my sketchbook (pages 40-41), I have examined a possible use for one of these drawings, which relates to sample 17 of project 1, exercise 4. I would like to develop my sketched imagery further with other ideas – maybe printing parts of the sketch onto fabric, contrasting textures and joining these together in a journal or concertina book.
 
 
Project 2, exercise 2
 
 
Rolls.jpgThreesome.jpgBalsa_sandwich.jpgSticks.jpg
 
Through my exploration of the Japanese aesthetic (samples 5-8), I feel I have learned both techniques and sensibilities associated with the culture, which I hope to incorporate within my future practice. I have always had affinity natural materials, so I feel that elements of Japanese traditional packaging could form a useful strand of my artistic development.
 
 
Choice of samples to send to my tutor
 
I chose to send a selection of samples from each exercise, including those which I found most interesting, and samples which explain a progression of the development of ideas.
 
 
References:
 
O’Connor, N. (2016) Adding drawings to MMT 2. At: https://ninasoconnor.wordpress.com/category/coursework/part-2/project-1-joining/#jp-carousel-4994 (Accessed 4 December 2016)
 
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Assignment 1 – Response to tutor feedback

14 November 2016


Assignment 1 – tutor feedback

My tutor for this module is Cari Morton. A link to her feedback can be found here.

 

Response to tutor feedback

In submitting this assignment, I had tried to focus on the following improvement points which I highlighted from Textiles 1:Exploring Ideas:

  1. To use the Harvard referencing system correctly by expressing author, date and page number (if appropriate) in the text.
  2. To be wider in my research around each subject (to include magazine articles and OCA blog posts)
  3. To better explain the benefits of peer contact as they relate to my practice (for example, through Facebook, OCA hangouts, discussion forums and email).
  4. In addition to the research topic, to mention specific artists as they relate to specific samples or lines of enquiry.
  5. To be more free and playful in my experimentation and to focus on creativity (i.e. not to be overly concerned about neatness or demonstration of craft skills).
  6. To incorporate what I have learnt about viewing samples at different angles (i.e. inside and outside, back and front), and under different lighting conditions.
 
I am pleased that my tutor recognised my thoroughness and appreciated the benefits of the scientific approach I had taken, which enabled be to define boundaries and identify characteristics/success criteria.
 
I was delighted that my tutor was so complementary about my drawings, in particular my ‘samples’ sketchbook. Her observation that my ‘Garden-themed’ sketchbook was not a key part of the broader project is correct. I had understood that any supplementary sketchbook/drawing/painting activities could be submitted, and I did not appreciate that they needed to relate directly to the assignment (in his case surface distortion). 
 
For assignment 2, I have already started a supplementary sketchbook on the them of ‘identity’. However, most of the work completed involves mark-making and surface texture rather than joining and wrapping, so it does not form an integral part of the exploration for this assignment. I will have try and realign the focus of my sketchbook. My tutor’s suggestion of extending my sample sketches to include planning and proposing ideas, as well as documenting, is excellent. I think that this will really help me by prompting new lines of enquiry and will definitely start incorporating it into my new sketchbook.
 
My tutor mentioned that she liked the way in which I embedded research her about artists into my blog, and suggested in her pointers for the next assignment that I could include images. I wondered if she realised that I had also created a separate (password protected) blog entry specifically where I had researched artists in detail (password protected because it includes copyrighted images). A link to the entry is given here. I shall check that my tutor is aware of this approach when I submit my next assignment.
 

Assignment 1, Reflective commentary

19 October 2016

 

One aspect of the old style of course which I miss is the questions posed at the end of each assignment. These helped to concentrate my mind and focus my attention on what had gone well, what had gone not so well and why. Once I had answered these, writing the reflective commentary was easy. The re-written course instead asks students to reflect on their performance against the four assessment criteria. If I were to list examples in support of these criteria, I would probably not adequately probe and interrogate my strengths and weaknesses – it can be difficult to see what you could have done better, by asking a simple question like ‘how could I have been more creative?’ I started by posing myself some questions, which I hoped would help to tease out the information I needed.

 

Self posed questions:


Did you feel that you explored all the possibilities? Can you see a route from sample to finished piece?

Although I made 141 samples, I didn’t feel that I explored all of the possibilities. However, I honestly don’t think this is practical given that some artists base their entire practice on just one area of surface distortion! Instead, I tried to be systematic and build on what I had learnt from previous level 1 modules. This meant that for some exercises, I made intentionally basic samples, varying just one aspect (such as shape, size or placement) at a time. This allowed me to understand the relationships between these variables and build up an awareness of how changing them might contribute to the success or otherwise of the outcome.

Later in each exercise, and particularly for Project 5, exercise 2 (stitching), I allowed myself free rein to combine techniques, introduce, colour, pattern and contrast. These were more innovative samples which better reflected my personal voice, however because of the many different variables, they were not as useful in teaching me what about the success of visual outcomes. 

I was surprised by just how many of the samples promoted an emotional response or analogies with objects (either animate or inanimate), and I have noted these down in the exercises against each sample. This was particularly aided by my research, which also prompted thoughts about possible development and applications (be it textured surfaces for interiors, fabric, sculpture). For the first time in this assignment, I have integrated comparisons with other practitioner’s work in my blog posts whilst I have been making and documenting the samples (this being in addition to stage 1 which is a dedicated piece of research) . This immediacy has helped me to relate better to my sampling and see many more connections and possibilities for development. Although this assignment has not required me to demonstrate a route from sample to finished piece, I can clearly see lines of enquiry emerging, which I have documented in my blog posts for stage 2&3 and stage 4 (sorting).

 

Did you feel that you made effective use of materials? Were there any other materials which you would have liked to try?

In the beginning, I purposely started with basic plain paper to help me understand the relationships between size, shape and composition. Although I did use other materials later in the exercises, I still have plenty more that I would like to try! As a general observation, I would say that sampling with different materials was more risky and often I was disappointed with the results. This confirms that my tendency to seek out complexity over simplicity, often does not result in the most successful outcome. This was backed up by my research, which suggested that surface distortion of basic, untextured, unpatterned materials is often extremely effective. In my own experimentation, I found that plain materials showed up shadows and subtle tonal variations particularly well.


How did colour effect the outcomes?

As I have alluded to in answer to the previous question, the use of colour (and particularly pattern) has to be considered carefully in the context of surface distortion. The temptation is to use exciting textured and patterned materials, but these often detract from surface distortion (in itself a form of patterning) and the shadows and tonal variations which it produces.

 

Did you see opportunities for combining techniques?

I saw many opportunities for combining techniques and investigated some through sampling. For example, I used folding and puncturing in combination with stitching, cutting flaps and stitching in Project 5, exercise 2. In my themed sketchbook on ‘The Garden’, I used scratching in combination with cutting holes, stitching in combination with cutting holes, and stitching in combination with twisted pleats. There is so much more scope for combing surface distortion techniques, not just with each other, but outside the discipline. For example, photographs of heat set fabrics could be printed onto acetate or fabric and developed further using other techniques. A scratched surface, for example, could be used as a printing block, in combination with mono-printing, or as part of an appliqué piece. The possibilities are endless.

 

Did you feel that sketching helped your analysis? If so, How?

When I first started with OCA over 2 years ago, I was timid about drawing and sceptical of the benefits it can have for textile practitioners. How far I have come – in feedback for my previous course, my tutor strongly suggested that I continue to develop my sketchbook work, as she recognised it as a vital component in my working methodology. Building on her suggestions, I have produced a dedicated sketchbook on the theme of ‘The Garden’, extending my stitched sampling with layering, transparencies and recycled materials. This work also draws inspiration from the exhibition by artist Martin Kinnear, which I visited in August, and supplements the exercises in this assignment.

I sketched 25 of my samples (approximately 18%), spread across all the exercises. It is a concept which I was only introduced to recently, but which I find extremely valuable. It helps me to understand complexity, but can also give training in the skill of simplification and selecting the most important visual elements of an object. It is not possible to make a drawing without understanding the subtlety of variation and the nature of lines, be they sharp or diffuse. Colour matching and representation of texture are also tested and explored in the process. The act of sketching gives new insights for development as well as the possibility for using the sketched image itself in a textile piece.

 

Measurement against assessment criteria:

Having answered my questions, I now feel able to address the assessment criteria and make better judgement on my performance, strength and weaknesses. 

 

Demonstration of technical and visual skills

I explored 10 exercises in surface distortion in depth. Design and composition was less important because many of these samples were purely experimental, and chosen so as to teach myself technical skills. It is difficult for me to assess my technical competency as I am not sure what the expected level is at this stage of the course. I can say that I have made good progress and feel confident to extend and develop the skills through my future practice. 

I would like to think that I one of my strengths is visual awareness and I have made efforts to explain this through my blog entries for each sample. Sketching samples has been an important elements of developing this understanding. My sketchbooks are developing and improving, but when I look at the contents of sketchbook on “The Garden” I can see scope for including even looser drawing and more mark-making, which I feel would enhance my design ideas further.

 

Quality of outcome

This is a really difficult to make a self assessment in isolation of other students work and given that the focus of the assignment was on experimentation. However, I feel that I have produced some samples which are visually very strong. My exploration of the effect of lighting has been essential in showcasing the transparency and shadows generated by some of my most successful samples. This is an area where I can see that I have developed. I am considering the malleability of samples a lot more and I am developing an understanding of how visual outcome can be changed depending how they are configured for display. I have learnt that simple ideas can produce a better outcome than more complex ones, and that this is especially relevant for surface distortion.

 

Demonstration of creativity

My starting point was to learn techniques and understand the relationships between size, shape and composition, so I did not always seek to be especially creative, particularly in my early samples for each exercise. Some samples did demonstrate a greater degree creativity (and also risk taking). I was able to demonstrate my creative voice, particularly in Project 5, exercise 2 (stitching), where I combined several techniques. I was pleased to be able to build on the work of artists such as  Kazuhito Takadoi, Anne Wilson, Jacob Dahlstrup and Carlos Amorales, and think about how I might make the techniques my own through interpretation and variation.

 

Context

Instead conducting the research topic in isolation, I have made an effort to integrate and extend it into the project exercises. As well as the dedicated research of 6 practitioners who used surface distortion in their work, I have also made mention of relevant practitioners as I have conducted my sampling. I have looked not just on the Internet and in books, but also in current magazines, which has put my research in the context of trends in fashion and homeware. Outside the course, I have documented TV programmes and other areas of research have which I have found relevant and of interest to my studies.

I have continued to meet regularly with the local OCA support group ‘East Anglia Extreme’ and have continued to seek the opinions of my peers through OCA Facebook Groups, and The Print and Stitch Group (a local exhibiting group to which I have belonged for over a year). In the last few month I have discovered the OCA forums and have joined two Mixed Media for Textile group handouts and formed new relationships with students on my course. 

In the period of completing this assignment I attended The British Art Show 8, and an exhibition of Norwich Shawls curated by The Costume and Textile Association. As a result, I have decided to join the group which will give me access to their programme of events, talks and workshops, trips to exhibitions and collections, and an introductory tour of the Clothing and Textile Study Centre.

Part 1, Stage 4, Sorting

11 October 2016

 

Sorting always presents me with a dilemma, not helped by the fact that I make a lot of samples (141 for this assignment). It’s easy to choose samples work well as stand alone entities, but much more difficult to select those with potential; for instance, just because I can’t see the potential in a sample now, doesn’t mean I won’t see potential in say 6 months or a years time. It could simply be that right now I’m not aware of what context in which it could be used, or other samples or techniques that would enhance it. For this reason I like to ‘park’ samples rather than disregarding them. 

I shall use this post to reflect on my working practices, outcomes as a whole, select and describe samples which have worked well and those for which I can see clear lines of development.

 

Working practices:

Because I did not have experience of several of the exercises, I started with very basic samples and systematically worked through them. The exception was project 3, exercise 2 (using a heat gun) which I covered briefly in “A creative approach”, assignment 3 (Eastaugh, 2015a) and and project 5, exercise 2 (stitching) which I covered in “A creative approach” assignment 1 (Eastaugh, 2015b). I tried purposely to be more creative and playful in my approach this time round, and was mindful to build upon rather than repeat the exercises I had already worked on in previous modules.

I thought carefully about lighting and orientation and viewed my samples in different configurations as part of the assessment process. I referenced the work of other artists when considering the context in which my samples might be used and how they might be developed. I thought about scale (large and small) and the merits of repetition vs. a stand a alone statement piece. I considered how I might create harmony through colour, pattern, shape, or texture and how elements like contrast of colour, texture or composition might be used to create drama and tension.


General comments on outcomes:

Reviewing each exercise and selecting the samples which I liked or had potential seemed to be a good place to start. This gave me an overview of my work and enabled me to make some general comments on the outcomes as a whole:

  • In terms of outcome, my favourite exercises were: Project 2, Exercise 5, “Flaps” and Project 5, Exercise 2, “Stitching”, (although stitching was worked partly in combination with other techniques). What I discovered when working the exercise on flaps was a surprising versatility of 3-D forms which could be achieved with just a simple piece of cut paper. Stitching  a technique which I knew I could produce interesting result, having used it for my sketchbook work in previous modules. 
  • Some samples were only interesting when lit from the front so as to produce shadows (an example being sample 1 of Project 3, Exercise 3)
  • For samples which rely of shadows for their appeal, I preferred those which use plain material as opposed to patterned. This is because the forms of the shadows can be better appreciated and there is no additional patterning to confuse or detract.
  • Photography enhanced some images compared with with when they are viewed using the naked eye (In particular, I’m thinking of Project 3, Exercise 3, “Using hot water” and particularly the photography of samples when they were lit from behind)
  • I found that the results of Project 4, Exercise 2 (scratching) were generally very subtle and it was difficult to imagine how I would use them directly in a finished piece. For me, their greatest potential would appear to be to translate them to another medium (maybe photographing and using that image – enlarging, colour modifying, multiplying?) or alternatively using them to make a rubbing.
  • For the exercises involving pleats, small scale worked better than large scale.

The fact that some successful samples require specific lighting conditions and/or placement in order to look at their best provides a dilemma for the distance learning student. Some samples are so fragile, as to require setting up “in situ” (project 1, exercise 5 (crumpling) and the specific display conditions which might be needed for a piece to work are unlikely to be reproduced at assessment. 


Comments on specific samples:

I have made detailed analyses of what I like and dislike about each sample, relationships with the work of other artists and ideas for development in the blog posts for each exercise, so it seems pointless to repeat it again here.

If I had to choose specific samples to take forward I would definitely focus on Project 1, exercise 5 (Flaps). One of the main reason for this choice is the successful visual outcomes of samples 3, 4, and 5 (see thumbnails below from left to right). 

Long_cylinder.jpgHalf_shut.jpgBlinds_from_front.jpg

However, I also find the idea that each sample can be displayed in a multitude of configurations very appealing, and sample 3 is an example of just how successful this approach can be (see thumbnails below). It was an idea which first came to me through the work of Sheila Hicks, who frequently reconfigures and reworks her pieces to suit the gallery or space in which they are to be viewed. The outcomes can be quite different – as if there were two distinct but related pieces. 

Cage.jpgAbove.jpgDarkness.jpgLight_differently.jpg

As I mentioned in my general comments, the addition of pattern did not improve the visual outcome of samples in exercise 5 (flaps), so I would stick with plain or subtle textured materials. The shadow effects are dramatic but there were wonderful subtle effects from using acetate (sample 8 – see thumbnails below), which could possibly be combined with other techniques, such as folding, to create a 3-d structure.

Tri5.jpgTri3.jpg

There is no denying that exercise 5 (flaps) and  exercise 4 (cut holes) of project 1 are closely related, so I would consider the results two exercises together when deciding what direction to take my enquiry. Size and spacing of holes and flaps are important compositional decisions which influence whether a piece evokes feelings of animation, tension, calmness, and much can be learnt from the outcomes of exercise 4.

Stitching (project 5, exercise 2) was another favourite. In contrast with the other exercises, which I mostly approached systematically and in isolation, I allowed myself the freedom to combine techniques of folding, punching and flap cutting. In my opinion, these combined techniques gave most successful outcomes (see thumbnails below – from left to right, samples 11, 12, 13 and 14)

Sample_finished.jpgFlaps_sewn_back.jpgLight3.jpgBridging3.jpg

 

There was a valuable lesson to be learnt from the outcome of sample 15 of exercise 5, project 2 (see thumbnail below), regarding giving over a larger percentage of the sample area to cut-outs/holes/negative space to obtain more interesting shadows. Whilst sample 15 was not my favourite overall for visual outcome, I would consider using a greater proportion of negative space as a line of enquiry in future sampling.

Sam154.jpg

Following on from this, the use of wire is another line of enquiry which is worth exploring. Sample 15 of project 5, exercise 2 (above) also showed that wire can be used both as a thread and to form and sculpture material which would otherwise be too floppy into a self-supporting 3-D shape. The appeal of simplicity was also demonstrated through the successful visual outcome of project 3, exercise 2, sample 14 (see thumbnail below). In common with sample 3 of project 2, exercise 5, it is configurable in a many different ways. It is certainly a line of enquiry worthy of further exploration.

Again.jpgSnake_2.jpgSnake.jpgOne.jpg

One theme which I have enjoyed exploring through sampling is the contrast between regularity and order, and irregularity and disorder. Sample 13 of project 5, exercise 2 is an example of this with its symmetrically punches identically sized holes contrasted with loose, deliberately untidy threads.

As well as selecting successful outcomes for future development, my consideration of the work of other artists in relation to my samples will very much influence my choice of which line of enquiry to pursue. The work of Kazuhito Takadoi (Takadoi, n.d.), in particular has interested me because of the use of very fine threads and the idea of transience and decay. It is a theme which I started to explore through my use of very fine threads in samples 5 and 14 of project 5, exercise 2 (stitching), and the successful use of plant material in sample 12 of project 5, exercise 1 (puncturing). Thumbnails of these samples (in the order listed above from left to right) are shown below by means of illustration. 

Bridging3.jpgSecond_stage_flat.jpgLeaf1.jpg

By thinking about my samples in the context of a wider narrative, the analogies that I have made have prompted ideas on the direction of future sampling and development. The most compelling of these comparisons has been the idea of sutures which arose from samples 11 and 12 of project 5, exercise 2 (see thumbnail below). 

Sahdows1.jpgFlaps_sewn_back2.jpg

This has prompted me to think about types sutures used in surgery as a possible line of enquiry for Assignment 2, project 1. The work of both Anne Wilson in her “Dispersions”  series (Wilson, n.d.), (Mitchison, 201:154-155) and Rosanne Hawsley’s “Seamstress and the sea” series (Hawksley, 2016) were very influential in this respect.

 

How I selected samples to send into my tutor:

It was not practical to send all of my samples to my tutor. My choice has been guided as follows:

 

  • The entirety of Project 5, Exercise 2 (stitching) – this is probably my most creative exercise, and includes some of my best samples. By sending all of them, I hope that my tutor will glean an understanding of my thought process and creative development throughout the exercise.
  • I decided not to attempt to send samples which are too fragile or which are unlikely to retain their shape when packaged and transported by post). This ruled out all of Project 1, Exercise 5 (basic crumpling) and samples which have already degraded since they were made (e.g. The ivy leaf sample from Project 5, Exercise 1, and the sample made from decorators’ general purpose filler from Project 4, Exercise 2).
  • I am sending all of the samples which I have sketched (with the exception of the three samples in Project 1, exercise 5, “basic crumpling”, for reasons mentioned above, and sample 11 from Project 5, exercise 1 “puncturing”, which I have unfortunately misplaced).
  • Those samples which I have specifically mentioned above as being successful visual outcomes and/or having greatest potential for further development.

 

References:

Eastaugh, N. (2015a) At: https://nickyeastaughtextiles.wordpress.com/2015/01/26/project-6-stage-3-applied-fabric-techniques/ (Accessed 11 October 2016)

Eastaugh, N. (2015b) At: https://nickyeastaughtextiles.wordpress.com/category/coursework/textiles-1-a-creative-approach/part-1-building-a-visual-vocabulary/2-developing-your-marks/ (Accessed 19 October 2016)

Hawksley, R. (2016) Rozanne Hawksley: Work – The seamstress and the sea. At: http://rozannehawksley.com/the-seamstress-and-the-sea/ (Accessed 19 October 2016)

Mitchison, L. (2012) ‘Out of the Ordinary’ In: Kettle, A. and McKeating, J. (Eds) Hand Stitch Perspectives. London. Bloomsbury. pp. 154-157.

Takadoi (n.d.) Kazuhito Takadoi: Work. At: http://www.kazuhitotakadoi.com/work.html (Accessed 11 October 2016)

Wilson, A. (n.d.) Anne Wilson: Projects, Dispersions. At: http://www.annewilsonartist.com/images-dispersions.html (Accessed 19 October 2016)