This is the final set of samples that I sent to my tutor:
Whereas 3.1.2 was made with an iron, this sample used a heat gun. At first I found the unpredictable results quite alarming but after viewing in front of a strong natural light, on a rare sunny morning, I decided it was worth persevering.
In my drawing, I tried to capture the delicate translucency of the bubbles compared to the opacity of the dense areas. It seemed strange that such fluid, organic shapes form in a synthetic material.
I could happily produce a series of these drawings.
Discovering the potential of Tyvek was exciting, I was initially concerned about losing the character of my work but the experimentation won me over. I included this sample because I spent time considering what to do with it. I wondered what I could add to it? What could I layer it with?
In truth, I like it as it is. If I were to develop it I would consider making a larger piece, in similar colours. Obviously, there is no guarantee of producing an exact replica but the unpredictability of Tyvek is part of its charm.
Anchoring non-heat reactive sheers to Tyvek with stitch and Bondaweb created effects similar to sheering, smocking or Nuno felting.
I like the composite nature of this sample because the colour balances harmoniously despite the surface being constructed from different fabrics and textures.
I learned from researching Anne KYYRO QUINN that a simple unembellished surface distortion can be just as effective as one that is heavily adorned, yet I feel I would still like to explore adding beads and stitch.
I love to incorporate knitting in my textile work. I made yarn from plastic carrier bags and combined it with cotton DK and Kid Silk Merino which when knitted together created wonderfully scrunchy, bouncy swatches. I then used the heat gun to distort the samples which produced two very different textures: The orange is very stiff which suggests it has sculptural possibilities. The green has a much softer drape, the addition of metallic embroidery floss and sequins gives it a shimmer which reminds me of grass peeping through a hard frost.
Of all the samples I selected, I think this is my favourite. The reason being that I think it holds the most potential: there are endless combinations of yarn, stitch and form that I would like to explore.
Having failed to emboss some knitted swatches, I tried a piece of machine embroidery that had been stitched onto dissolvable fabric.
The irregular circles have become scale-like, reminiscent of the crochet crocodile stitch that I printed on the Gelli Plate, which in turn I related to Ann HAMILTON‘s exhibition SENSE (2.5.6)
Reading about Diane READE‘s embossed bag series, made me consider that, whereas Hamiliton’s images disguise nothing, embossing can conceal or reveal.
I like the little bit of mystery this sample creates: What is it hiding? What is it divulging? Why are the shapes irregular when the scratches that made them are linear and all orientated in the same direction?
I have spent a lot of time recently looking at and photographing trees, so whilst I have been completing the exercises, the natural shape and form of bark has been at the back of my mind. It seemed incongruous as I heated plastic and embossed foil that the textures resembled one another and yet they did.
In this last sample, I think I began to bridge the gap between that I was thinking about and what I was doing. I took a natural form, a Lotus Seed Head and embossed it with foil. An unusual material for a natural shape made an interesting juxtaposition. I would like to develop this by embossing the bark of a tree.