Looking at my screen printed samples of the lost scarf knotted hem, I wondered how I could extend my ideas…I have illustrated a few of my samples stretching the use of the screen printed designs, so that they become more than patterned fabric.
My sketchbooks were used to ponder over ideas and come up with a few plans, inspired by artists and designers along the way.
My own poetry as previously documented through my archive material supported my stimulus too. The word “adorn” as used within my poems, pictorially evoked designs in my head.
I have illustrated a selection of my sample outcomes below:
I wondered how I could combine my pattern with a “view through” element…a cut away? I was reminded of this thought via looking through Nicol’s book Embellished:
Above: Strong sense of contrast with the black and white pattern conveyed, with embroidered motifs as an underlay.
Using my own archive material, how could this come into existence?
Above: Hand dyed vintage nightdress particle, with knotted hem screen print in decolourant. planned drawing of possibilities alongside chosen imagery. Photograph of my grandmother and I, taken from my archive attached below after cutting out and embroidering shapes to neaten edges. I have zoomed in within the top image on another symbolic element; the red line, which I have woven through to depict my grandmother and I’s pathways and interconnecting lives.
How could this be further extended?
The image could be transferred via a variety of methods onto fabric, then stitched into place to become a more permanent piece. Further embroidery work on the actual image could be played out.
SAMPLE TWO (Collection)
Using my own ideas, I probed at new ways of puckering and emulating form. On the samples above, I worked at cut away parts, in sympathetic to pattern formats. Drawn in threads, portraying both a “red path line” coupled with 3D form. A more contemporary feel illustrated within the other sample, where I have cut out shapes, leaving the cut out parts to attach with a new medium, in this case pins with backing.
On the lines themselves, I played with hand embroidery, again sensitive to my archive.
SAMPLE THREE (Collection)
For this collection I was inspired by scale once again. I wanted to play with thread thickness and scale in tandem. Using the hem images and my own drawings directly inspired from it, I began to use ribbons, offcuts, thin vintage thread etc etc.
I was also inspired by an old embroidery magazine. You can see it in the background of one of the images above; along with exerts from Karen Nicol’s book Embellished.
How could this collection be further used?
If I decided to extend this style into project four, I plan to draw from my samples, noting the form, curves, linear parts etc.
The imagery I have taken could be manipulated to prevoke new thoughts.
The pieces themselves could become more resolved. What could they be? Depending on the ribbon or tightness of knots, they could become stiff or limp.
Alluding to my grandmothers loss of sight, which took time to worsen and fade, I wanted to find a way to pictorially evidence this. Using the screen printed pattern as a Base, I made a knotted hem in braid, and overlaid this. Finally screen printing mesh has been overlaid to partially hide the contents from view.
I was inspired by artist Jill Morris within project 2 and again I turned to her work, as she uses unusual materials on similar themes to what I have been working on. Here are a few examples of her work:
For this collection above, she focused on entrapment, with a rather intuitive style. She also digitally printed light weight fabrics with her designs.
I wanted to extend one or two of my samples into more resolved pieces. Using the word adornment, I wondered what this could mean in this context, as it was one word I focused on within my archive poetry.
In extension of this, I wanted to tie in my grandmothers sight loss. I want you keep finding new ways to subtly illustrate this. I came across Suffolk Puffs used in Karen Nicol’s work. She played them in opposition to how they are normally used, sewing them to a cashmere cardigan the “wrong way” effectively.
This to me, symbolised a hidden assembalance which could well illustrate loss and lack of sight within my own context…
I began to plan how to use my pattern in this way:
Note that I am looking at the word adornment here too and thus somthing that could become a wearable piece.
Notice also that the way I have designed this collar, is so that some of the “puffs” continue the lines within the pattern, creating that “Red Line Path” from my poetry.
Above: Using my mannequin as a mood board, with own drawings, alongside a vintage scanned suffolk puff article and a copy of the Karen Nicol cardigan. This imagery pushed my wearable item, as seen.
Below: Further imagery of the collar in its accomplished state:
Finally I mounted my sample piece for further viewing, on black card with blown up imagery of myself:
How could this sample be further extended?
I could make a whole line of these collars, or a variety of accessories using suffolk puffs as a starting point.
I remembered an artists work from the 2009 Knitting and and stitching show, who could prove inspiring at this point.
Her collar series were made from recycled materials and machine embroidery. I loved the 3D aspect if them. Very king Henry the viii. To my eye, they are just as sculpture driven as they are wearable. They in effect, would adorn the neck, just like my own outcome. Her display methods were simple, which let the collars tell their narrative. A good lesson for myself.
Jill’s work explores her interest in traditional fabrics such as Lace and has developed unusual paper techniques, using the paper as if it was fabric.
The salvaged magazines used are treated as if they were a cloth, deconstructed and reconstructed using the sewing machine to form different exciting materials. The evolving fabrics give an illusion of lace, mosaics and reptile skins. The use of printed images and words provide an extra dimension, giving humorous captions about life and personal themes.
She adorns the neck, as it were and her subtle use of personal artefacts, such as her own papers from memorabilia, relate well to my own practice; that use of personal objects in a quiet way, yet they are there.
Her manipulation techniques are something I could study further too.
Below: Drawing work to notice the 3D shapes which I am discovering through photography and observation.
Reflections on my collection of samples, as seen above:
I have divided my samples via a number system as illustrated above, for clarity within this post.
I enjoy visually comparing my drawing and planning work to the samples, it shows me the links and sounds it down in my own head, thus this becomes one reason why writing a blog is so helpful as a student.
The one negative of writing a blog rather than a word document Log Book, is that it can be hard to gain balance within each post, as to artist research, own findings, displaying own work examples etc.; however this has got easier over time.
Some ideas have not as yet become a reality. For example in the sketchbook pages above, I discuss the use of clay as a wearable art form. I would love to try this at some point within my body of work; for now it is shelved for future use. This shows another part of the sample making process; that of looking at ideas, playing them out so far on paper and then deciding which ones to take forward….I call this my audition process.
Are there any samples I feel more successful than others?
My resolved collar sample obviously was extended further than the others and I realise how important I view the actual photography of my work: it helps me to reflect in a more second person view. Sometimes when I am looking at my samples all over my room as a whole group, it can be hard to see the wood from the trees as it were. Photography makes me display, separate / isolate key pieces and think of their future.
For this post, I decided to keep a mostly neutral tone and hold back from speaking too critically about my samples at this stage. I wanted to view them all once made and then become more definite as to which ones were stronger than the others and which ones would develop my ideas for Project four. This will all be reflected upon and critiqued with reasons and backed up evidence within a separate post.