Continuing from my last post, these are the samples that I selected to send to my tutor:
Incorporating machine stitch and plastic fusion was really exciting. As the plastic contracts the stitches become displaced creating interesting lines that waver and loop. I saw the potential of these pieces being developed into jewellery because I instinctively wrapped them around my wrists as I handled them. Imperfection adds an informality which compliments the unusual choice of material (carrier bag). This thinking led me to research Silvia BECCARIA.
I love her meticulously made, audacious statement pieces. I realised it was not so much the product I admired but the individuality, the daring and the attention to detail, these are all qualities I aspire to. I would like to take what I have learned and challenge myself to be even bolder in my choice of materials and application of ideas…
Driven by the need to organise all the tiny samples and inspired by Victorian Crazy Quilts, I patched the pieces together. As I reflected on the samples I began to draw further comparisons with BECCARIA: Historical inspiration, Traditional technique and Marginal materials, that together create something a bit unusual.
I don’t know how I would develop this ‘plastic quilt’ beyond adding more stitching. Embroidering by hand would emphasise the connection to the historical quilts intended to showcase a lady’s needlework skills. There is something about the ‘feel’ and drape of the ‘fabric’ that entices me, I simply feel I want to use it for something…
I have taken to referring to this sample as ‘Migraine’
The vivid colours and random, spiky, linear composition reminds me of the visual disturbances I have experienced when I have suffered a migraine. The plastic strips form an informal network of lines that travel in all deirections. Shrinkage from the heating process has created holes. The overall lightness of the piece helps to suggest dancing, flashing light.
The sample interests me because I generally tend to work with what is physically in front of me. This departure has created a piece that I find quite emotive because it stirs up the discomfort I have experienced.
I can’t make up my mind about this sample.
Sometimes I look at it and find it really appealing: the smooth cotton warp threads and the bubbled plastic weft contrast one another in both texture and direction. The regularity and grid-like format reminds me of Agnes MARTIN and the colours suit that sombre but serene aesthetic.
Other times I worry that it is too sparse and simple. Childlike and naïve? I wonder if it looks forced and like it’s trying too hard? It reminds me of the difficulty I had settling into the pleating task, when I felt like I had stopped being myself.
RECORDING SAMPLES 3.1
I included the drawings in my selection because I really value the experience of stopping to observe an object while I draw it. In some respects, I found the drawings I made in response to the samples more successful than the samples themselves.
Drawing is much more in my comfort zone than any of the exercises I tried for Part One. I think that makes me likely to take risks. I need to apply some of that confidence to my making and really push my boundaries.
I took a lot of photographs over Christmas and could see links with the subject matter and my work. Towards the end I began to integrate these into my sketchbook but this could have been made clearer.