SELECTED WORKS FROM LEVELS 1 & 2

Transcription

1 SELECTED WORKS FROM LEVELS 1 & 2 TEXTILES 1. Based on a section of a magazine picture showing Brighton beach, this work explores the use of different materials, including a diverse range of fabrics, carefully selected to represent the variety of colour, and its depth, within the sea and beach. The natural shapes and forms are indicated by exploiting the use of different techniques and knots, to create appropriate threedimensionality as well as textures. The use of contrasts is an important aspect in terms of light reflection and tonal values to create dept,. Woven Sample, cabled cotton yarn, hessian, net, sheeting, denim and satin, polythene, 39cm x 30 cm

2 TEXTILES 2. Developed from a theme of the river Thames, various techniques have been used to create this printer cover, including distressed paper manipulation, fusing of carrier bags, painting and stitching. Studies of night time reflections have been digitally manipulated and repeated to produce the abstract design. The contrasting surface areas and colours are reminiscent of the river surface. The gentle drape of the material provides a softened form to a box-like shape, protecting and disguising the printer. Printer Cover, paper tablecloth, carrier bags, fabric paint, PVA glue, yarn, 62 cm x 32 cm x 22cm (variable)

3 TEXTILES 3. This work was produced as part of a research project into The Emergence of Shibori in Textile Art and looks at four sections, investigating shibori from pre 7 th century through to date - What s It All About?; What Happened?; What Evolved?; What Now? For each section the body of text has been printed on calico and overlaid with flaps showing images of appropriate examples of its use. These flaps are covered by larger, corresponding flaps showing explorations made into the amazing relevant techniques. The use of a wall hanging approach forms a unique piece of research that successfully combines information with intrigue, while the different effects created, both 2 and 3 dimensionally are fascinating. Shibori Investigation, cotton fabrics, silk fabric, polyester fabric, velvet, calico, wool gauze, wool fabric, metallised fabric, wool yarn, cotton yarn, discharge paste, soda ash, Procion dyes, safflower, indigo, paper, ink, Bondaweb, wood dowelling, 84 cm x 65 cm (variable, excluding hanging)

4 TEXTILES 4. While considering the subject of Memories, the concept of how brain cells handle memories was explored with the research becoming focused on neuron cells. From this, various aspects influenced the development of this sculptural piece, such as the overall drip shaped forms representing the chemicals produced to bridge the synapses; the copper wire used to reflect the electrical impulses of the neurons; the plaited and crocheted construction suggesting the complex network of the neurons. The natural fabric of the up-cycled denim is sympathetic to the organic structure and the complementary colours, together with the loose cords, suggest the dynamic activity of the brain cells. Hanging Sculpture, denim fabric, copper wire, 120cm x 15 cm x 15 cm (variable)

5 PAINTING 1. Utilising yarns and threads, this piece explores their use in an unusual way while referencing domesticity by suggesting a pattern cutting methodology. The combination of colours suggests ambiguous physical shapes and forms that is enforced by the inset of contrasting colour adding physical three dimensionality. Shaped Painting, yarn, thread, Mistyfuse, watercolour, on mountboard, 64 cm x 56 cm (variable)

6 PAINTING 2. Exploring a domestic theme, whereby a living room is a box, distorted domestic scenes are depicted on this constructed box. By the use of the same curtain fabric that was used within the actual room, together with Paverpol, an intriguing rigid piece has been created with interesting surface textures and ambiguity. Box, Paverpol, fabric, ink, paper, PVA glue, 43 cm x 30 cm x 11 cm (variable)

7 PAINTING 3. Using interesting textured floor tiles to provide an appropriate rigid support, this work explores memories of wear found in work trainers of a floor layer. Digital manipulation has added further distortions to those caused by repeated action of wear, creating obscurity and prompting inquiry. Shaped Painting, ink, paper, gel medium, Bolon tiles, 79 cm x 53 cm (variable)

8 PAINTING 4. The use of digital manipulation to zoom, crop, mirror and repeat has been used to design this obscure piece reminiscent of a monkey face or mask. Tapestry weaving with a variety of carefully selected materials and colours, has been used in the construction of this interestingly textured work. Tapestry Weaving, yarn, printed fabric, wooden dowels, 57 cm x 31 cm (variable)

9 INITIAL PERCEIVED RELATIONSHIPS BETWEEN SELECTED WORKS Constructed/layered 2 and 3 dimensional forms Combinations of surface textures Unusual materials appropriate to theme Combinations of techniques Considered colours to create depth Considered tonal values Up-cycling of materials Irregularities Intrigue Memories Obscure, disparate Domesticity Chance Overall shape/form appropriate to theme Ambiguity (within Painting works) INITIAL THOUGHTS ON INTEGRATING PAINTING AND TEXTILES AND THEME In terms of how to bring together my two areas of Painting and Textiles, I feel that there is a big overlap between them and that the work I carried out in the Painting2: Mixed Media module has already laid the groundwork for me. It gave me the direction to apply textile related aspects into more meaningful work developed in specific directions. I intend to continue along this route within my BOW and RES modules and this would involve aspects such as focusing on meaning and the use of associated appropriate materials. Although I do not have any definite intentions at this stage and want to find my way by exploration and research, I think I might pursue weaving. A lot of my work has been around combining and layering different aspects, and I have carried out weaving successfully in both disciplines. Looking at my exercise and development work as well as finished pieces, I have used weaving with various materials, including paper and natural things like twigs. I feel there is a lot of potential in this area and for practical/physical reasons this would suit my working environment ie. my apartment. This would also allow me to include other aspects that I am interested in such as sculpture and photography. In terms of my theme, I am going to continue exploring the impact on my local area of the ongoing mass construction developments that I explored in Painting2 Mixed Media. I have a few ideas, such as looking at the nationalities of increasing residents (their different foods or where they originated etc.); the changing landscape; changing polution (from cement/chalk dust to traffic pollution etc.) that I will investigate during Part1 of the Research module alongside Part1 of Body of Work, to identify my way forward.