Assignment Five: (option one) Project Three: 500(+) Reflective Sumerisation 

How did my sample making go? 

I refrain from using the word success here, as I do not feel that this can be quantified. Exploration and investigation in this arena is an ongoing learning path which becomes a part of me and my career, I refuse to pidgin hole my outcomes into mistakes and successes. Whatever I have made and played with, is positive involvement which will shape my practice and enhance my capability in the future tense.

I selected from my research material which was amalgamated through projects one and two, to persue the links between my grandmother and I as my chosen archive material.

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I am contented with this decision as it was personal and something someone else could not have experience of, thus I could bathe in its originality.

I worked on binary types of planning / sample making. All steming from my archive but taken off in different directions.

Did this work and were there obstacles through this project to overcome?

I would not change this decision, although at times I felt it was difficult to achieve balance between both.  Yet it allowed me the chance to explore stark variations in work style, which I felt I had to do at this stage in order to make a conscious decision of how best to approach my final samples.  In a way I would class this as a learning risk.

I will always question if I tried enough ways of working the themes?  enough techniques?  However I didn’t want to try so many that I could not give attention to each one, as this would have shown a lack of progression. I wanted to convey the fact I had pushed the ideas forward enough to make an informed decision.

Techniques wise I did not come across any major problems, apart from small things like making sure when I had dyed fabric that it was dye fast and that the decolourant paste I used was thickened enough to screen print with.

What samples did I like best? 

In order to evoke a sense of organisation, I named my sample making collections into groups. That way there was no misunderstanding when I was writing about each one.

My collection of ‘Red Tie Collars’ were pleasing to my design imagination, I liked the materials I chose, which were high quantity and at times contradictory; I. E light silk voile coupled with sewn over leather. However I felt that I was working on too select a scale and had already narrowed down my outcomes by selecting the subject matter of collars. Of course I could have played with a more exadurated scale, but was this something I wanted to develop? I felt not. I felt that I was honing down my categorisation too much.

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The pieces I made have inspired me and I was excited by the photography side. Yet I decided to shelf this idea concept in favour of other samples which I deem stronger.

Playing with scale was something I have neglected in the past, I did not feel scared or any trepidation, yet something must have been holding me back.  Choosing to develop my decolourant and screen printing techniques under the under the name of ‘Our binary narratives’ was a positive exercise for myself.  Because larger scale was not usually on my remit, I didn’t feel tied or preconceived expectations; in a way I felt dethatched.  The staging of certain elements such as the dramatic blind I set up in my living room, added a practicality to the work as well as arousing mood.

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What ideas to take forward? 

I found that decisions were easy to make in this regard, as some samples seemed to lose their stamina and potential to grow quite naturally, just like some of my archive material had in previous projects, where I had met dead ends.
The samples under the heading ‘our binary narrative’ are the ones I would like to take into Project 4, as stated within this post and others relating to this project.  This really surrounds the pattern below, which I will push and investigate further through Project Four.

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Why? 

In contrast to other samples such as my collar work, this selection of samples holds the promise of being unresolved in my eyes. In other words it could be pushed further as to scale and even working with it in a digital format as well as physical.

It holds onto a ghost view of its original inspiration point, that of the links between my grandmother and I, mixed with the lost scarf knotted hem which I drew from and my own self penned poetry.

I like that the outcomes themselves don’t make too obvious a connection. That shows that I have driven the work forward in a new way. 

The pattern itself, could be said to picture pathways and lifetimes, the knotted shapes represent the concept that life has its ups and downs, yet we continue on the journey.

Did planning help, such as my sketches and notes? 

Yes. This project as a whole has served as a bridge, where I could explore and play with sample making, see what worked and simplify my collaboration of concepts until I reached a clear idea to take forward. Notes and sketches helped to clear my head and visually illustrate and remind myself what I wanted to develop.

 

PLEASE NOTE:  My word count has gone over the 500, however I have knowingly allowed this, so that I could cover the main points held in the brief for this review.  Clarity over counting.

 

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