I found the Selection Process easier than I have on past occasions but will admit this is probably because chose too many samples to send to my tutor. Perhaps I should have been more ruthless?
I created a word document to put into the box, which provides a brief overview of each sample and why I chose it. I also tried to explain what I would do next and to relate the samples to the research I did.
This is what I decided:
The soft,organic nature of this example makes it stand out from the other pleated samples I produced. I battled against my orderly nature at the beginning of the course becoming obsessed with measuring and accuracy. Combining crumpling and pleating I found I became more respectful of the paper, allowing it to take the form it wanted.
I compared the loose, un-pressed folds to Issey MIYAKE‘s ‘Pleats Please’ clothing line. The fluid lines, billowing cloth and dynamic poses reminded me how rigid I was being with my sampling. It wasn’t until much later I began to produce work that was more like ‘my own’ but I felt this sample marked a turning point.
I almost omitted this sample at the selection phase but relented; the distorted text fits in with a later theme I explored concerning concealment and revelation.
I like that the translucency of the tracing paper allows the handwriting to be viewed from the front and back. In addition, the twisted pleats distort the text so its meaning is lost (it is actually the definition of pleating). The graphemes appear disjointed and broken like a strange cipher.
If the sample were reproduced on a larger scale the arrangement of pleats could be altered to create more movement. I would also reconsider the means of securing the pleats as the machine stitching is distracting.
The sculptural potential of this sample interests me. The incremental spacing between the pleats creates a spiralling effect, I would like to find out if this would continue as the sample grew? Could I combine multiple units?
I enjoyed adding stitch, in this instance the precision and regularity works well. I found the overall effect of channels, panels and lacing reminded me of corsetry. I visited the Undressed: A Brief History of Underwear at the V&A to collect ideas about how I could move this forward.
As it appears in the box, this sample is dull and lifeless, however, when lit from behind by a strong light the flower motifs are revealed.
I played with some pre-cut factory waste, which caused me to question some of the rules I impose on myself: Reflection. I cast a light through the holes, traced the shadows, then cut the newly distorted shapes.
The flower shapes became tropical and each one is slightly more irregular than the last as they recede into the background, I like the composition but it is much smaller than I originally intended…
For this sample, I experimented with cutting holes in salt dough.
It was not the samples themselves that caught my attention but the recording of them in my sketchbook. Firstly, I used watercolour pencil and coarsely ground salt to capture the rough grainy texture of the dough. I developed this into an embroidery onto Abaca tissue painted with Brusho.
The success of these pieces highlighted the importance of drawing (both in pencil and stitch) as a way of recording outcomes rather than relying on photographs.
I had reservations about the Cutting Flaps exercise, worrying about the samples looking like advent calendars! I looked to Lisa RODDEN‘s work to move me forward.
Although this sample is very simplistic, I find it quite effective. Using paint charts to produce several samples allowed me to work with combinations of colour I wouldn’t usually use. This particular piece appeals to me because it contains neutral colours reamed with a wide variety of desaturated hues. After working on this I began to use blues and eventually greens that pushed me out of my earthy orange comfort zone!
I also looked at Maud VANTOURS, discovering an alternative way to make flaps by folding paper. This led to me trying out a new crochet stitch: Crocodile Stitch.
As attractive as the swatch was I was wondering about its application, finally after receiving a Gelli Plate for Christmas, I used it to do some printing. This led to comparisons with an exhibition of Ann HAMILTON‘s work: SENSE, which features skins pressed against glass which I found extremely disturbing.
I am interested in pursuing this idea using my photographs of tree bark to inspire the work.
INCIDENTAL SAMPLE 2.6
I really enjoyed the tearing exercises, I am surprised that the only piece I decided to include wasn’t actually torn at all!
In my investigation I used Brusho to colour papers, before and after tearing, observing the effects on the soft edges. This piece of tracing paper was actually beneath the paper, to protect the surface, It has crinkled into wonderfully random undulations. When I look at the piece I get the impression of a torn edge although it is only a paint effect.
The surface distortions and colour are suggestive of water, in my sketchbook I have produced a yarn wrap of materials I would use to translate this into an embroidery.