Choosing the Expressive Figures - Option A as my research theme gave, and continues to give me, such a rich variety of work to explore. This in turn has helped me to be selective in the work I look at in detail, not only in textiles but other artistic forms, e.g. sculpture, both metal and paper, photography, drawing, literature and music. It also led me to look at the magnificent work of Alice Kettle (more below).
Use of sketchbook to glean visual information
As I said at the end of the last module, if people work in different ways, some plan and then produce; some produce then adapt; some plan, produce and adapt, then I am probably in with the first, plan and produce (and only then adapt if the original plan isn't quite what was anticipated). I'd rather work on paper, making mock-ups if required, and then consider how the piece will develop, than jump straight in. The use of the sketchbook for me is an essential tool, giving me ideas on which to base future work and also a focus for continued exploration. The sketchbooks used in Module 2, from small to large, and ideas suggested are already providing directions for future work. They have helped me collect and explore ideas. For this module my particular favourite has been the less formal ringbound 20x20cm Seawhite sketchbook. Thanks to Gwen Hedley (Summer School 2017) pages can be easily removed and inserted. This is where I have collected ideas for the Figures Option and inspiration jumps off many a page.
Your designs
Again, the only way I can address this is by considering which designs make me excited and want to go on to do more. In no definite order:
- the medieval birds - MM8
- prints from the stitched 'blocks' from Decorative Details from a Shisha Textile MM 123-144 - such treasures here!
- figures - MM264, 267, 290, 294 (and other similar prints).
Proposed design ideas
It was interesting to see how the idea for the resolved sample evolved and it would be interesting to take some of the other prints from the figures print run and see how they evolved into stitch.
Artists study
The two artists I studied were specifically chosen due to the type of work they produce. I have been fortunate enough to attend two workshops with Su Blackwell at Charleston, one on making 3D paper thistles and the other on lightboxes.
While studying each artist, two gems stood out for me which relate to the direction my work is taking:
- Alice Kettle's new work - machine embroidery on printed canvas, where some ground is left visible rather than covering the whole ground. This is an approach she developed after experimenting with the multi-needle Schiffli embroidery machine. '(I realise) I do not have to cover the fabric with stitch: I can let each mark breathe. For the first time in 21 years I have liberated the fabric'.
- Su Blackwell - a quote about her from Justin Croft (antiquarian bookseller) 'Each letter is like a stitch; it's as if she's weaving with words.'
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