Distracted by Paolozzi

Aims:

To explore the work of an artist who used moulding and casting in their creative output.

Why did I select this material/process/approach?

Paolozzi was one of the suggested artists in the course-notes.

Degree of success: What worked/What didn’t? Why?

I wasn’t expecting to find much to like about Paolozzi’s work. On first viewing it struck me as very masculine, with a definite Science Fiction aesthetic.

As I researched, I fell in LOVE! I felt so inspired by the collages and prints, I began making connections to other artist and relating the work to my own interest. I was extremely surprised at how poignant the themes of fear and threat of war still are today. I jumped straight in, designing a Paolozzi style relief tile with an assortment of junk from the shed. I really thought I was onto a winner here- I even managed to incorporate my love of circles:

As I began to build the relief using clay to support the junk, intending to use latex to capture the whole thing, then cast it in plaster, I started to feel uneasy:

• What was the point in spending hours and hours covering the tile in layers of latex?(Particularly when I have not even trialled using the material)
• This is a big piece, 10×10″
• I can already see the outcome

How does my learning relate to tutor feedback/personal development?

Luckily, my tutor feedback from Part 2 arrived. It couldn’t have come at a better time:

“In terms of context, you’ve looked at quite a lot of practitioners, Scott and Gomes particularly relevant to the focus of this part of the MMT course. Some others may have prompted you to stray away from that focus, e.g. Delauney and Mann took you towards pattern, shape and colour. They seemed to inspire ideas somewhat tangential to the exercises.

Critically consider how your research informs the work in a relevant way. Focus on artists who use appropriate materials and processes to help inform your investigation.” 
I realised that I was making exactly the same mistake again, right down to the Delaunay sketch on the bottom right!! Instead of researching Paolozzi’s use of moulding and casting, I had allowed myself to become distracted by his use of symbolism, pattern, colour and socio-political comment. I take comfort from the fact that I had an inkling things weren’t right, which shows that I am learning, even if it was almost too late!

How does this relate to my contextual research?

Further discussion with tutor made me realise that in future I need to ensure that I use contextual research appropriately in relation to the focus of the coursework.

How could I use this sample/technique/material/research in the future?

I know that I should have been focussing my research on Paolozzi’s sculptural works, yet I don’t think the research I did was time wasted. I found so much to inspire me, that it can’t be a bad thing. I can save this knowledge for a later date.

I have come to the conclusion that there must be a fine line between a personal response with a lateral solution and a tangential investigation.

How could I have approached this differently/What could I do differently next time?

I realise my response to my research was inappropriate, rather than plan the outcome, I should have allowed the materials to guide my experimentation. Cari advised:

“Try not let control your direction or the outcome of the investigation- if you know where it is going, where is the fun and surprise for you?”

What do I want/need to do next?

Before I made the decision to STOP, RE-EVALUATE and CHANGE my approach, I sampled the use of latex and silicone. I intend to review these using my new Pro Forma and allow the discoveries I made to inform my next steps rather than continue to pursue the Paolozzi ‘final product’. Although this feels a bit defeatist, like a failure that I should pursue until I can produce it perfectly, I have come to appreciate PERFECTION is not the goal. Learning is the goal and I need to get back to that.

3.1; Moulding a Savoy Cabbage

In this post I am going to evaluate my experiment using plaster to capture the textures of a savoy cabbage leaf. I will be using my recently developed pro forma to try to analyse rather than recount what happened. This is part of me trying to make my blog work as a tool, following feedback and discussion with my tutor.

Aims: to preserve the transient. To mould directly from the surface of an object with plaster, without imprinting texture into clay first.

Why did I select this material/process/approach? Previous attempts to press air drying clay into the pocket-like, puckered texture of the cabbage leaf failed. The clay was too hard and stiff. The photographs below demonstrate that what detail I did pick up was elongated and flattened:

Sample properties: Look/Feel. Structure/texture/colour.

I produced a cast of the top of the leaf, the dome structure, left; and the underside, the bowl structure, right. Both have picked up lots of accurate detail regardless of whether the curve was concave or convex.

Both structures remind me of coral, the top is quite sharp and scratchy because of the way the plaster has settled in the undercuts. The underside has smoother lumps and bumps that are almost like bubbles.

Both are brilliant white in colour, where the plaster has been shielded by the leaf. Around the edges where the plaster has come into direct contact with the supporting clay some discolouration has occurred. I don’t think this is necessarily a bad thing, it adds interest although it does alter the way light reflects across the surface.

Degree of success: What worked/What didn’t? Why?

Overall, I am pleased with these two samples. They are firm and weighty, portraying and accurate representation of the detail texture found on a cabbage leaf. The variety of texture is interesting as the ‘pockets’ in the leaf are smaller around the edge than in the centre. I really like that they are a ‘matching’ pair, there is a definite relationship between the two when viewed together.

I had some difficultly with undercutting, particularly on the top of the leaf. As I pulled the leaf away, I heard lots of alarming ‘ping, ping, ping’ noises as plaster broke away,  I think most of these pieces were very tiny as it didn’t seem to make much difference to the overall finished sample. The other problem with undercutting was pieces of leaf remained stuck in the cast; this occurred mainly around the edges (where the cell structure is very tight). This frustrated the perfectionist in me, but I really don’t think it that big a deal, eventually they will decompose and brush away.

How does this relate to my contextual research?

Actually, physically working with plaster and natural objects made me realise it is not just the absence of colour in Rachel Dein’s work that gives me a melancholic feeling. My early comment about ‘mausoleum’ tiles seems even more fitting now I have appreciated that the organic materials in this process are sacrificed. They become immortalised, forever frozen in the moment they were deemed at their best. They don’t get to wither and die, but nor do they get an ‘Autumn’. The time of year I would actually describe as most aesthetically pleasing. The cyclical nature of organic matter has been broken. I think this makes me sad.

Did I feel comfortable with the materials/techniques? Was there anything I particularly enjoyed?

This is quite a simple straightforward process, that I found quite satisfying. I found kiln clay much easier to manipulate than air drying clay, it formed a secure supporting barrier that was easily removed afterwards.

Did I discover anything new or unexpected?

I already knew that plaster could create really smooth surfaces but I was impressed at how sharp the definition and edges can be. I found the number of bubbles produced the mixing stage were quite alarming, for the second sample I tried to knock out as many bubbles as I could before I poured. Curiosity makes me wonder what happens if you don’t do this, or if you intentionally create as many bubbles as possible?

How could I use this sample/technique/material/research in the future?

This technique is very versatile, I guess plaster could be used to capture the texture of a wide variety of objects, with or without clay dependant on whether the object is porous or not. Porous objects would soak up plaster and allow it to travel through… Rebecca Fairley adopted a similar process casting with concrete- perhaps I should look into this. In order to seal a porous surface and prevent seepage, I could seal it or use a non-permeable layer (latex? cling film?)

How could I have approached this differently/What could I do differently next time? Could I repeat this using a different material/techniques?

Try using red clay to add a subtle warmth to the sample.

Was I experimental/logical/controlled/expressive enough?

The technique is very simple and straight forward so my logical approach was justified. Now that I understand the process, I should be able to be more ambitious and experimental.

How does my learning relate to tutor feedback/personal development?

I was worried about the tiny pieces of leaf stuck in the casting, until I realised I’m not supposed to be looking for perfection. My tutor report provided guidance for Part 3, reading: ‘Push yourself to keep exploring imperfection and irregularity’ made me look at the additional samples below in a new light:

Waste plaster was poured into the bottom of drinking bottles, I naturally assumed the one on the left was the better casting. Considering tutor feedback, I would say actually the one on the right is more successful, the imperfection that reveals the slightly bubbly, grainy texture beneath the smooth surface offers an interesting contrast. It speaks of decay and degeneration.

What do I want/need to do next?

This was what I didn’t think about carefully enough. Answering these questions in hindsight has highlighted to me where I went wrong. Since I didn’t plan what I wanted to explore or achieve next, I drifted into some irrelevant research which inspired an investigation with a planned ending. After discussion with my tutor, I can see now why it is important to keep research pertinent to practitioner, materials and method. More about this here.

 

3.1; Good Intentions Gone Bad!

I had good intentions when I started Part3, pending tutor feedback. Part 2 felt large and sprawling, this time I was determined to focus on what was really important: the material investigations. However, two weeks in, I began to suspect I was already making mistakes, which was corroborated by the feedback I received last night.

I need to evaluate what I have done so far, draw a line under it and move on. I have decided to use the blog differently, using questions tweaked from information Cari gave me. I will be using this pro forma until I get the hang of it!

Rachel Dein’s Plaster Tiles:

Aims:

• To relate my experiments to a contemporary practitioner (Rachel Dein).
• To develop idea of preserving the transient (related to previous project: Retaining the Memory of a Wrap)
• To explore recording imprinted objects in clay.
• To translate these marks into a more enduring material: plaster.

Degree of Success:

I was able to achieve a good transfer of the leaf’s veins into air drying clay. I did not enjoy the experience of working with this material, finding it stiff and hard to manipulate. It has the consistency of wet toilet roll tubes and smells revolting. It is hard to achieve a nice smooth edge- especially when cutting (I need to explore if I can sand the edges) It took a long time to dry and as it did almost all of the samples suffered some degree of warping and shrinkage. The resulting tiles are very lightweight and feel brittle.

 

Pressing the textures into kiln clay and then casting the imprints in plaster (as Dein does) was highly successful. The materials were much easier to work with – the clay being much softer and more mouldable. The plaster was easy to mix and picked up an exquisite level of detail, drying hard with no warping. The tiles feel very solid, although perhaps rather heavy.

 

Future Applications: (sample/process/material/research)

This process (clay imprint recorded in plaster) could have a great many applications, since I doubt that it matters what surface was pressed into the surface of the clay. A good imprint should always be possible and is easily transferred into plaster.

Placing objects at different depths could possibly be achieved by supporting layers of clay. This would add more depth to the relief’s surface.

Adding colour would be high on my agenda if I were to use this process again. Research and observation showed me how cold and clinical plain plaster can be.

I would not use air drying clay again if I could avoid it, the disappointing results (warping and fragility) do not seem worth the smell!

Context:

THIS IS WHERE I GOT IT ALL WRONG! This reflection was informed by reading what my tutor said about my last assignment and applying it to what I have done since.

I almost immediately became distracted by my research. I focussed on the provenance and evolution of Dein’s work inspired by Early Botanists, (which I think probably relates more to Part 4: Printmaking, than to Part 3) I concentrated my evaluation of her work on the composition of the tiles and the effect of leaving plain, smooth space around an image. This was interesting to me, but was tangential and missed the point of the investigation.

I regret the time I spent on this master study of Ehret, in hindsight it screams irrelevant! I could have spent that time experimenting with materials! I did learn from Ehret though…I noticed a subtle warmth from the inclusion of very soft colouring. This helped me appreciate that the subtraction of colour from Dein’s work (and possibly other castings) is responsible for the haunting stillness. This led to the Gelli Plate prints I included in my sketchbook:

Again, I am not really sure of their relevance to Part 3. However, if the prints are considered residual to the application of colour to the actual block this makes more sense. I did not make this clear in my sketchbook but have tried to rectify this by displaying the photographs alongside each other here.

Was I experimental/logical/controlled/expressive enough?

Since I found Rachel Dein’s tiles to be quite cold and repressed, I think I can be excused for responding in quite a controlled and logical manner. I did try to tweak the appearance of my own tiles by altering the composition. I felt by spreading the texture from edge to edge, I was alleviating some of the contrived nature of her designs.

I was methodical in approaching the actual practicalities of the process: experimenting with where I positioned the leaves- under/over the clay. How I pushed them in- fingers/rolling pin. How long to leave the leaves pressed into the surface, etc. For this reason I gained quite a good understanding of how the two clays differed and how plaster can be used in addition.

How could I have approached this differently?

I should have kept my contextual research focussed on the materials and the process.

 

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A1: Self Assessment

DEMONSTRATION OF TECHNICAL AND VISUAL SKILLS:

Since the Assignment is comprised of a selection of experimental samples they lack the quality of finish I would normally associate with a resolved piece. Hopefully, they demonstrate that I am comfortable to work with and manipulate a range of materials. Using drawing to record my outcomes was a welcome task, I felt more confident in my mark-making than my making. Stopping to reflect as I drew often gave me time to appreciate the sample and to decide where to take my investigations next.

QUALITY OF OUTCOME:

I swapped to working in a loose A4 binder, rather than the spiral bound A3 sketchbook that I am used to. The idea was that I would be able to remove pages and review them side my side. I don’t think it was a good choice, my sketchbook which is normally one of my strengths has become more like a physical log. I don’t think it was the size I found constraining but the opportunity to fiddle with organise and rearrange pages was a major distraction. Since I rely on my sketchbook as a ‘thinking space’ I found this affected the outcomes.

I found the Selection Process much easier than for ATV. I would like to attribute this to a growing sense of judgement, however, I suspect I wasn’t strict enough with myself and submitted too many pieces.

DEMONSTRATION OF CREATIVITY:

I always think this is the hardest category to self-assess. I tried to be bold in my experiments and treated each exercise as an investigation. I wonder if I could have taken more risks and been more adventurous in my selection of materials to work with?

I have thought and wondered about the existence of my ‘personal creative voice’ in the past. I definitely feel mine is beginning to develop, I feel able to distinguish between what I like and what I don’t like and am beginning to be able to explain why. (I find it easier to say why something works than why it doesn’t). More importantly, when I was struggling at the beginning of the course I simply felt the work ‘wasn’t my own’. I remember commenting later on that I had “hit my happy” because I began to recognise myself in the work again. This sense of ownership is really just a feeling, yet I can feel it building.

CONTEXT:

I researched and referred to a number of artists, becoming more and more interested in the thoughts behind their work, than just its appearance or the technique they are using. I felt that I communicated these links better than I included my own personal, visual research. The photographs and observations I made of trees over Christmas seemed to subconsciously sneak their way into my work. I didn’t realise their effect until I wondered where the green drawing in 3.2 came from! Once I realised I tried to communicate this in my ‘sketchbook’ and blog. This could have been made clearer.

A1: Written Reflection

I actually feel quite a sense of relief to have reached the end of Part One and be in a position to receive some feedback. I found the exercises huge in their scope and the possibilities endless.

The greatest difficulty I had was getting started. I don’t mean I sat staring at a blank sheet of paper because I starting making straight away. I just found it took me two or three exercises to get into the swing of things. I don’t know if it was because I started working in a loose A4 folder rather than the spiral bound A3 sketchbooks I am used to. Something just didn’t feel right.

At the time I remember thinking choosing Pleating (1.4) for my first exercise was really sensible because it helped me work through the uncomfortable period where I tend to seize up and become controlling and rigid. Looking back during the Selection Process, I noticed the samples I produced early on are dull and look like I was trying too hard. I chose to submit 1.4.6 because it stands out to me as being the least self-conscious of the lot.

I previously identified that I find starting new projects difficult. This time I was prepared for it and actually made notes about what happened and how I was feeling. I can not say that I found an answer to the problem but it was interesting to keep track of. I wonder if this phase will always be a part of my process or if I will find a way around it?

Actually acknowledging the difficulties I was having was quite cathartic. It gave me the opportunity to reflect on and question some of the beliefs and rules I have constructed for myself over the years. This gave me a greater understanding of who I am and how I deal with problems.

I am left wondering if pleating really was the best place to start, I don’t think it did me any favours, it almost seemed to feed my anxieties! I spent more than three weeks on this exercise alone and as a result have only completed a total of seven. Hopefully the work I produced across the rest of the exercises is enough to show my tutor what I am capable of.

I am generally quite pleased with what I have produced. I felt frustrated at times, that just as I felt I was getting somewhere with a technique, it was time to stop and move onto the next exercise. This, however, is the nature of sampling and I think I was able to note my intentions and move on. An example of this would be the Incidental Brusho piece I included in my submission. I would have liked to stop and translate this into an embroidery, what did instead was make a yarn wrap of suitable materials to serve as a reminder for when I do get a chance to return to it.

Having just packed up my work from ATV, I noticed how much better I have got at discussing my work and evaluating it. I noticed this time it has been easier to make links to the artists I researched, yet I do not think the integration of my visual research, (photographs of trees) was so clear.

Pushing the boundaries and responding in an individual way has become increasingly important to me. Looking at Silvia Beccaria, helped me to identify this. Some of my samples are bolder than others, the Selection Process gave me an opportunity to determine which ones stand out in this respect. It also left me wondering have I done enough in terms of materials? For example in the fusing plastic exercise most of the samples were made from carrier bags and embossing only on paper and foil. It is difficult to balance my desire to investigate every possibility and permutation with my need to keep this degree on track and finish in the required time frame! I felt I could have given each exercise a month rather than a week!

Looking ahead to Part Two, the exercises appear much less broad. Each one focusses on a small aspect of joining or wrapping which will give me the opportunity to explore each method fully. My head is already filled with possibilities, I hope, now the nerves have gone, to dive in and be myself.

A1: The Selection Process 3

This is the final set of samples that I sent to my tutor:

SAMPLE 3.2.1

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.

SAMPLE 3.2.3c

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.

SAMPLE 3.2.4

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.

SAMPLE 3.2.7

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.

SAMPLE 4.1.9b

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?

SAMPLE 4.1.10

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.

 

A1: The Selection Process 2

Continuing from my last post, these are the samples that I selected to send to my tutor:

SAMPLE 3.1.1

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…

SAMPLE 3.1.2

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…

SAMPLE 3.1.3

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.

SAMPLE 3.1.4

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.

A1: The Selection Process 1

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:

SAMPLE 1.4.6

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.

SAMPLE 1.4.11b

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.

SAMPLE 1.4.7

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.

SAMPLE 2.4.3

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…

RECORDING 2.4.5

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.

SAMPLE 2.5.1b

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!

SAMPLE 2.5.6

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.

 

 

4.1; More Sampling: Embossing

The next material I embossed was foil, which I found instantly more accommodating. When I last used kitchen foil in 1.4.4, I felt I didn’t gain much from it. I now found that I could press it onto objects and with much less pressure than paper required, create a facsimile.

The texture of the embossed plastic canvas was transferred clearly and neatly onto regular kitchen foil. However, when I tried embossing the dots from earlier samples, I began to see the limitations:

The pattern was recreated by the kitchen foil without breakages but with only minimal handling the surface began to deteriorate (you can see in the photograph some of the ‘bubbles’ have popped!). This meant that recording these samples would be more important than ever, since they were not going to last long.

One of the things I really liked about the kitchen foil is that it revealed exactly how much stress a material is put under when it is embossed. No wonder there were so many breakages when I used paper! The drawing above records these stresses and I rather like the strange sunburst shapes that have created a pattern like a secret cipher or code. Once again, I considered embossing with Diane Reade’s themes of concealment and revelation in mind. What if my drawing is secretly revealing the stress it was under?

SAMPLE  4.1.5

Since I have been thinking so much lately about the texture of bark, it would probably have been more appropriate to have directly embossed a tree. Unfortunately, that was impossible this week so I had to use a substitution: I used a Lotus flower seed head from the florist.

I had intended to draw the seed head as it was because I thought it related really well to the Exercise: Cutting Holes, instead I embossed it.

I liked the craters that appeared in the foil, I also thought the lines and creases in between them were really interesting. The three dimensionality of the sample, from wrapping around an object rather than pressing into a surface, put me off a bit. It simply extenuated the problem of the foil being so delicate and liable to roll into an unrecognisable ball at a heavy touch. I put it to one side for a while….

A TRIAL THAT FAILED

I have mentioned before that I like to incorporate knitting into my work, this exercise was no exception. After knitting two swatches in cotton DK, I coated them with Gesso to harden them.

I did not manage to successfully emboss the knitted texture onto the foil (or paper). The knot was still too soft, I wonder coating with PVA might have produced a harder surface? Interestingly, I thought I would have more chance of transferring the second swatch (because it had a larger gauge and therefore more spaces for the foil to sink into) in actuality it made the problem worse because it was more springy than the tighter knit.

SAMPLE 4.1.6

The failure of my experiment above, was really important because it encouraged me to keep looking… this hideous piece of free-machine embroidery was my first attempt at using water soluble fabric during ATV and has been kicking around my desk ever since! Curiosity, frustration or serendipity made me pick it up and try to emboss it.

This unlikely combination of failure and foil actually produced something I found really attractive. It was similar to 4.1.5 in appearance, only better: the series of lines and creases between the irregular circle shapes was wider an more pronounced than when I used the Lotus head. I decided to draw it before the tiny web of lines flatten out (which they did, the sample no longer ‘exists’):

RECORDING 4.1.7

I first used a black pen to record the creases and folds and then recreated the drawing by scratching marks into a surface prepared with oil pastel.

The drawings remind me of my plastic fusion images because of the bubbles but they are different: there is no hard line between the circles. What is more important? The shapes or the spaces between them? The holes or the lines? I like this dichotomous relationship: one can not exist without the other.

I am reminded of Karen Margolis’ three dimensional work which explores a similar theme. In pieces like ‘Containments’ http://www.karenmargolisart.com/containments made from looped cotton, bound and linked by wire, the space exists because of the boundary. Yet without the boundary we would not see the space. Hmm…

SAMPLE 4.1.8

I tried combining kitchen foil and sheer fabric to ascertain firstly whether embossing could be transferred through fabric without a press and secondly to see if this would strengthen the foil making the emboss last longer.

I found that I quite liked the way the organza toned down the shininess of the foil, the shapes showed clearly, although they were no stronger or permanent than before. The silk tested the limits of this way of embossing, the shapes were ‘readable’ but only just. In order to emboss thicker fabrics I believe a different technique is required. I did not have the equipment, so I returned to foil alone.

SAMPLE 4.1.9

I found the foil of a disposable serving platter was much more suited to embossing. I was able to make deeper marks, without damaging the surface. I had to wrap the edges with electrical tape because they were really sharp (it was like self adhesive bias binding- now that would make finishing a quilt simpler!)

Having discovered that I could emboss quite deep and dramatic marks into the surface of this thicker foil I returned to the embroidery from 4.1.7. I was able to produce a sample that wasn’t in danger of disappearing!

The irregular circles have become scale-like. The linear mark that have created each scale are clearly visible and are all orientated in one direction. I feel the sample has an air of mystery- What is the foil concealing? I like that it is not immediately obvious. What does the emboss texture reveal? Is it too abstract?

SAMPLE 4.1.10

Finally, I used the little scrap of foil from the neck of a wine bottle to emboss the Lotus flower head.

This foil acted more like thin sheet metal, which I guess in essence it is. I was able to push the material deep into the recesses, creating a really three dimensional effect. The fact the surface is not especially shiny makes it more pleasant to look at. It also leads me to question my choice of materials for this exercise, have I been looking in the wrong places?

 

4.1; Sampling: Embossing

At the beginning of this exercise, I felt quite frustrated with both the materials and the technique. I started by mark making on a series of different papers, trying to find one that would produce the effect I wanted. This felt similar to the first exercise I did on pleating, perhaps my preconceived notions were interfering with what I was producing?

SAMPLE 4.1.1

Having decided from early experimentation (above) that the answer to the perfect paper for embossing was a thick and sturdy card, I was quite surprised that my first sample used tracing paper:

I rather like the way the marks crease the surface causing a slight discolouration. The translucent quality of the paper suggests the embossed surface could be layered over another surface, fitting quite nicely with my thoughts about using embossing to conceal and reveal. As I handled this sample I noticed how much more dramatically the surface texture had changed in comparison to paper. The fragility of tracing paper provides the additional benefit of creating textures that can really be ‘felt’ as well as ‘seen’. 

SAMPLE 4.1.2

In my investigation, one paper stood out as being particularly suited to embossing, it held the shapes well without tearing. It also didn’t become shiny in the areas that I pressed, which was a problem I encountered with some of the other papers.

The regular arrangement of circles breaks up the surface quite rhythmically. In my drawing I tried to capture the way light and shadow add to an embossed piece emphasising the form. I found it wasn’t easy to record the white surface without making it look grey.I thought about what secrets this sample might be withholding. Perhaps the circles are like little pills hidden in their plastic strips? 

SAMPLE 4.1.3

Although Diane Reade’s embossed designs are created with plain white paper, I still wanted to explore the use of colour. I selected some patterned papers and decided to emboss a contradictory design onto them.

I was disappointed with how soft the papers were, they damaged quite easily. I tried to overcome this by sticking two sheets together, which did help a little. I didn’t really feel the patterns I was embossing produced anything meaningful; the samples looked a bit like wallpaper.

On reflection I wonder why I believed that embossing has to be perfect? Perhaps embossing could be used to distress the surface, like sanding, scrapping or scratching? This would be an interesting concept to explore. 

SAMPLE 4.1.4

Still interested in adding colour, I returned to the ‘perfect paper’ from 4.1.2 and embossed it with two simple designs. I wanted to see what would happen when I added a wash of Brusho over the top. I suspected that the water content of the Brusho would make the paper wet and mushy and that the embossed design would lose all definition. I hoped, however, that the colour would pool in the recesses, in a similar way to shadows. Realising the reaction would be different depending on whether the surface design was concave or convex, I produced a second set.

After producing the first version, I realised the ‘magic moment’ I was looking for occurred only briefly, just as the Brusho was applied. I was able to photograph this in the following samples:

I found the moment in time much more appealing that the samples when they dried:

As it dried the Brusho soaked into the paper in a more ‘all over’ fashion, it is most effective in the second and third photographs. One is the front, one is the reverse, so this seems to suggest this is a trial and error process, rather than one that works particularly better on the convex or concave side of an emboss.

Most importantly, the paper did not collapse, the emboss did hold its shape. It could be argued that the colour detracts from the raised surface but I personally like the effect. I am left wondering how I could incorporate this effect into some of my drawings or prints?

Could embossing add something extra? Would it detract from the marks I made?

Having produced these paper samples, I decided to try embossing with foil, which I will discuss in my next post.