July 25, 2011 § Leave a comment
Laura White talked about her work and facilitated a workshop at Modern Art Oxford as part of our Artist Teacher Scheme. It was interesting listening to her talk about her unique work, but I found it particularly interesting hearing how she managed both making and lecturing.
I felt like Laura and I have many similarities within our work – although aesthetically they couldn’t be more different. She looks at the relationships between images and objects, particularly the physical relationship with an object. This links to some ideas I have been having about the textile pieces themselves. What role do they play now? Are they for display purposes? Did they ever really have a useful purpose – perhaps the purpose was in the making and the object was secondary? This last question resonates with Laura’s statement ‘it’s not what you do, it’s how you do it’. I would like to look further into decoration and ornamentation in connection to these textile objects.
I had fun playing with materials – as encouraged to by Laura. I started the day using the tin foil as Laura has done to ‘cast’ images. I pushed the aluminion foil into the creases and negative space of the doilies and then took photos of the impression they made.
The photos were actually much more successful then the pieces themselves. They seemed very flat even though they had a raised surface. I didn’t like their crisp edges either. Perhaps I could have worked on the edges, cutting into them to get rid of the straight lines.
I then used clay and fimo (courtesy of Tessa) and the same process to create the following pieces:
I have previously tried to add texture to my work and I intend to develop this further in order to produce some larger scale, more experimental pieces over the summer.
June 26, 2011 § 1 Comment
Year 10 Textiles students have been joining me drawing lace, crochet and tatting on top of hand made paper. There was something about the fragmented surface of the paper and the uneven edges that made them seem more delicate than they actually were. They also reminded me of the pieces I created in the work shop with Laura White (keep posted for this…).
June 22, 2011 § Leave a comment
My mum sent me these samples along with some paper doilies she has bought me:
She has taken a rubbing of the doilies and pushed ink through the negative spaces to create these patterns. She tells me that she tried to emboss the paper using the doilie but it didn’t have a raised enough surface to make an impression. This must have stuck in my mind when completing a workshop led by Laura White as I returned to trying to create a raised surface during this session.
I am enjoying the informal collaborative elements of my work – my mum sending post and Tessa collecting objects for me (and hopefully teaching me how to Crochet). Keep posted for an entry about my year 10 Textiles Students who are drawing my collection of crochet on hand made paper.
June 3, 2011 § 1 Comment
I have been working on this drawing for a day. It started as a projection of the crochet piece on an over head projector (the old school type) and from there I recorded the negative spaces:
I then studied the crochet on a closer level to produce the final drawing:
There are still elements that need tidying up around some the connecting area of the drawing, but my eyes are hurting now so I’m giving it a break.
This is the first time I have worked on a slightly bigger scale (A3) and although the time it takes to complete the drawings at this size is immense I do feel they have more impact. Perhaps I could look at repeating my drawing as a repeat pattern and a cheat a little that way.
June 1, 2011 § 2 Comments
Using my new tatting magazine pages I have made the brave step to start drawing directly onto them. In my tutorial Tiffany mentioned that I should start refining my materials, therefore I have bought three new fancy, extremely fine, pigment markers (archival quality no less).
There are a few incidental qualities that I like about this piece. For example, the way that the hands in the bottom left hand corner look like they’re creating the drawn piece links very much with my ‘process’ theme.
Also, I deliberately drew a piece of tatting in which threads were spaced more widely first as I didn’t want too much of the original page to be covered up. I also used my finest pen to draw with – 005. Thich gave a very delicate line to help the page be seen more easily.
By the end of this piece I reckon I was feeling the same way you might have done if you created the original – aching eyes, aching back, crampy wrist. I kind of like that about the process. It takes me time to figure out how to represent certain twists and knots in the pieces, sometimes I practise first on a scrap of paper.
I’m trying to be as accurate as possible – I use a digital projector to project an image of the textile piece onto the magazine page and record the outline of the piece, and other large patterned areas. Then I work flat observing the original piece to add all the details that the projection can’t pick up.
This next image illustrates the ridiculous set up I have in our tiny flat, projecting in the corridor as it is the only place with a white wall big enough to project on. I’m getting increasingly frustrated with the working space I have. I would work at school over the holidays but it’s an hours drive away. The dinner table is okay to draw on but packing everything up whenever we eat is a pain. We are moving at the end of July to a bigger place with a second bedroom that will become my studio – exciting times!
The last image illustrates a piece that I completed which includes more solid sections of linen in addition to the tatting. The fine cross hatch works well to illustrate the grain of the fabric.
I have enjoyed dedicating a whole day to this process and tomorrow I will do the same, this time exploring various other textile techniques drawn.
June 1, 2011 § 1 Comment
I have experimented with combining instructions with my drawings by using collage techniques, however I would like to start drawing onto the actual pages of the manuals I have. Recently I have successfully bid on a tatting magazine and a pillow lace book in order to do this.
The tatting magazine has these graphical pink hands illustrating the various moves. I hope to further cement the link between the drawing and textile process by juxtaposing my drawings with these visual instructions.
I was also inspired by a recent trip to the Pitt Rivers to buy this book by Margaret Hamer and Kathleen Waller.
It includes an A3 point ground lace pattern which I will draw over once I’m brave enough. It has lots of these crazy dot to dot type illustrations on it: