A2; The Selection Process (2)


P2: EX.1 #12 (DRAWING IN SKETCHBOOK) Unfortunately ‘Washing Machine Spoon’ is too large to post it is a particular favourite. The sample was initially rather tongue-in-cheek, poking a bit of humour into a task I found slightly strange (an idea I later discovered Erwin Wurm exploring). The more I studied the way the pipe coils around the spoon the more I began to actually like it. It is bold yet simple, I thought it very different from my usual type of work but actually there is something about it that I find familiar. I equated the experience of this wrapping to a recent foray into hand building with clay. These experiments gave me confidence in my ability to work spatially and explore scale.


P2: EX.1 #13 (DRAWING IN SKETCHBOOK) I think ‘Washing Machine Spoon’ loosened me up a little, this drawing feels fresh and energetic. My experience of drawing with OCA so far has been that a representational likeness does not always have to be the objective, here I have concentrated on capturing colour and texture.


P2: EX.1 #14 (SAMPLE) This sample represents me exploring a bit more colour theory, using an image to inspire both colours and shapes. I really enjoyed making this. It seems quite remote from the sparseness of #12 but was created in a similarly intuitive way. The white yarn that radiates from a central point allowed me to relate to the division of circles that inspired me in project one.



P2: EX.1 #15 (SAMPLE). This wrap was inspired by seeing Sonia Gomes work at Entangled.  My version is nowhere near resolved, the colour doesn’t work and the wrapping is perhaps rather too controlled but I like the way shapes are treated in sections that weave in and out of one another. It felt really important to echo Gomes use of found or gifted fabrics by selecting yarns that I had ‘rescued’ and added to my stash. Recycling and sustainability are issues that need to be addressed in textiles because of our throwaway, disposable lifestyles. This has the potential to be explored further.



I became particularly engaged in this exercise, which unfortunately left little time to explore P2; EX3. I think the time I spent on these pieces was worth it, I felt I was beginning to pursuing ideas rather than technical possibilities. For example #16, #19, #20 and #21 show me exploring how the memory of a wrapping can be preserved.                #18 and #19 revisited fast and intuitive construction, like Washing Machine Spoon.

P2: EX.2 #16 (SAMPLE). Researching Jeanne Claude and Christo really interested me. I love how driven they are take on grander and more ambitious projects; their integrity (not relying on sponsorship) and their bravery in allowing the projects to be so impermanent. I began thinking about residual memory and tried to find a way to record the wrap after it had been dismantled.

This was my third attempt at preserving the memory of a wrap and as soon as I saw it I was excited. The marks that remain form a wonderful composition that radiates from a central circle (a reoccurring theme in my work), the quality of each line is slightly different because of the way the pen was applied. I haven’t decided how to translate these marks yet but this is something I would like to return to.


P2: EX.2 #17 (DRAWING IN SKETCHBOOK). Draping the watering can like a dressmaker would a clothe a human form resulted in deep folds of fabric. Again I experimented with a way to maintain the shape once the object inside was removed. Although I really enjoyed the stitching that ensued, I don’t think the results were as effective as this simple tonal drawing.



P2; EX.2 #18 (DRAWING IN SKETCHBOOK).  Developing #17, involved switching the crisp cotton for a soft chunky knit.  I took the concept from Johnny Vegas’ One Minute Teapot (demonstrated on the Great Pottery Showdown) and blended it with Erwin Wurm’s One Minute Sculptures. Teapot Shape + Woolly Jumper + 1 minute = #18!

I think the sample shares the speed and irreverence of Washing Machine Spoon; I hoped to balance the silliness of the sample with a fairly sensible drawing.


P2: EX.2 #19 (SAMPLE). Using rust to record the shape that the fabric once contained. The ‘memory’ in this sample is soft and faint, the colour and process reflect time passing. I resisted the urge to iron it flat believing the creases visually add to the story. Beyond this, I wasn’t sure what other action to take. Other experiments with stitch proved fruitless, detracting from the motifs. Something to ponder on?



P2: EX.2 #20 (SAMPLE). Knowing how short of time I was, I really chanced my luck and experimented with wrapping objects that were coated with wet paint; I am so glad I did! I am thrilled with the prints I made, some contain these intricate webs of organic tendrils, while others were more abstract. I love the soft colour and complex pattern interspersed with delicate florals, it reminds me of a William Morris wallpaper or a wood engraving. I wish I had time to explore where this enlarged, close up image could lead ~ embroidery, embossing?

P2: EX.2 #21 (SAMPLE). One of the more abstract style prints (as seen on sketchbook cover) this time printed on silk. For me it felt quite risky printing such a bold image onto something as precious as silk (another unspoken rule broken), it makes a nice contrast. I think this made me more aware of the potential for printing onto different surfaces, which I will be mindful of when I get to Part 4!



Having planned my time really badly, I concentrated my efforts on this sample ‘Flowering Can’. I returned to the Mother’s Day Bouquet palette, floral shapes and intuitive building techniques I used in P2; EX1. I used weaving, knotting and sewing in combination with straight wrapping to cover the can in a ‘second skin’ that reflected the purpose of the object within. I came across the term second skin being used by several contemporary artists (Vasconcelos, Ptolemy Mann, Sanne Schuurman and Ann Hamilton) and found it an interesting metaphor with a lot of scope.


I felt really unhappy and quite angry during the early stages of constructing this sample. If I had time to develop this exercise I would have looked at wrapping as an expression of emotion. For example: How would the wrapping of a precious memory such as a photograph of my sons as babies differ from that of a written recollection of something horrible somebody said to me?


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