Personal Specialism: Assignment 3: Managing my project

Reflecting on work produced within this assignment, with a view to simplifying ideas and concepts to take forward

Recap of ideas actioned so far

For my project work so far, I have explored:

• Knitted samples
• Exploration of the egg shell as a sculptural medium
• Use of Jesmonite
• Life drawing
• Stitched drawings
• Beginning of explorations merging figurative drawing with textile techniques such as quilting.
• Building of sculptural forms on a variety of scales

Are there any stronger than another from the list above?

Knitted samples and building of large structures

From investigative research into the technique of knitting, I discovered its links with mental health and in particular emotional repair and a way of keeping oneself calm.  The artist Freddie Robbins noted this within her lecture for the ‘What do a need to make it OK?’ symposium in 2016, where she alludes to knitting as ‘a form of distraction, a way of coping’.  I wanted to experience this first hand for myself, thus I created a mini project surrounding making small knitted samples, eventually extending this to the point where the knitted pieces were structured into doll like sculptures.

I found that my interest lay in the use of the Knitting Nancy, where I questioned scale, both of machine and outcome.

Due to my lack of experience regarding the technique of knitting, I personally did not find the act therapeutic; however I do comprehend how once the method is understood, it could become a way of distracting oneself, due to the need for concentration and the fact both hands are needed, thus one can get immersed in the moment.  I can see how this would be an investigative study in itself, however due to my lack of definite skills I see that narrowing my focus to knitting at this stage would be detrimental to my degree.

However it has made me question what my own version of knitting is, what calms me within the context of textiles?  The answer falls on the needle; the act of stitching is my distraction, my method of self soothing.  I feel “safe” with one in my hand, as long as it is connected to thread.  I like its unquantifiable nature, no need to keep to a pattern, no stitches to drop, no mathematical plan, no tension to get right.  I can do what I like; the length and style can be arranged at my will.  Thus my “wool” is “thread” – my knitting = fabric.

One aspect of knitting which really did interest me was the types of wool available and how I could connect the variations with qualities and emotions.  For example a stiff scratchy Shetland wool can repel the observer or wearer, or feel uncomfortable.  A soft mohair can attract and feel reassuring.  Thus emotional repair and a sense of healing which is the topic of my project can be conveyed with the wool chosen.

My ‘wool’ = ‘fabric

Moulding this with my own practice, I have made this truly my own by transferring this type of observance to fabric.  For my large humanistic structure, I chose to use fabrics which hand meaning, I.E.  Irish linen for the legs, to emulate strength through the fragility of often a low thread count.  The Irish links to my own birthplace and heritage.  A fine muslin was used for the body and arms, showcasing beauty and softness with a sense of fragility. More on this can be found within this post.

Managing my next thoughts on the figure and sculpture

One unexpected result came when staging my figure to photograph.  It naturally descended from its seated position onto the floor in a slow-paced manner.  I would like to film this as I feel it adds to the projection of emotion – this is another form of its silent vocalisation of emotional qualities and another way of studying body language.

Now having been able to observe how this large figure can display so much emotion and characterisation, due to my study of repair, I want to investigate the repair of relationships (see my note on the sculpture Pierre Williams) and how evidence of the disrepair can be ascertained through body language, rather than vocalisation or facial reaction.  In order to effectively research this, I will build another figure the same size as ‘5ft 2 and 3/4’.

I will place the two finished figures together and watch how they naturally fall, I will film this too.  Due to both figures being made the same way, this will prove to be a fair examination.

I project that the above findings will fuel further studies, incorporating drawing and stitched drawing work, to fully record my findings.  The stitched drawings may prove to be a starting point for further experimentation within the discipline of textiles, as touched upon in an elementary way through my body of work so far.

Life drawing / Stitched drawings

Early within Personal Specialism I had a tutorial with my tutor, where she suggested I look to figurative forms and apply for Life Drawing classes.  I meditated on this and at the time, could not envision how to merge this with my practice.  After visiting this exhibition at The Royal Academy of the Arts, my view changed (the exhibition was named From Life).  Through the exhibition, I discovered that so much character and style can come from drawing ‘from life’.  Thus my developments surrounding my large sculptural form, made from a pattern of my own body and then subsequent drawing work, in a variety of mediums.

It is reminiscent of my Stitched Portrait work from Textiles 2, thus a continuation of my developing practice.

Taking it further

Previously and within my own working practice, I have used my designs to create a series of Printed Textiles on silk and other fabrics.  This would be a way of expanding my audience – wearable art such as scarves.

Other textile techniques – quilting

As discussed within this post

I want to investigate merging my stitched drawing work with the quilting technique of Trapunto, so explore what lies between the area of flat stitched drawings and 3D sculpture.  To make this my own, I will test the use of Jesmonite, as a stuffing medium.

Use of Jesmonite

I have employed the use of this substance in a variety to ways, yet it could be further investigated within the final parts of my project, especially used in relation to symbolic and literal weights, as I have begun to explore.  I see this medium as an important part of this point in my practice, as it takes my work out of the Textiles discipline, yet can be used and merged with fabric, thus still retains some familiar features.  It adds symbolic contexts to my outcomes and gives a mouldable structure too.

Eggs as a sculptural form

This has some room for growth – experimentation could develop surrounding what it can be used for; i.e. as a figures head, used with paper mache etc etc.  However I feel that this could be a project in itself and too many lines to trial will only lead to poor quality or rushed work.  Thus as present I am shelving this idea.

Planned Actions for Part Four onwards

Carrying on developments with ideas already actioned…

Every part of the project must be aligned to answer my original question of how to heal.

• More figurative drawing and figurative stitched drawing work, thoughts developing towards Printed Textiles.
• Using stitched drawings as a starting point for other textile related techniques such as the form of Quilting called Trapunto.
• Use of Jesmonite applied further – incorporated with fabric, to attain and emulate meaning.  (This can be married with the two bullet points above).
• At least one other large sculpture like ‘I am 5ft 2 and 3/4’, in order to identify body language between the two and observe reactions and mending of hurt.
• Film based recording of the figures above, to further ascertain body language and emotional repair / disrepair in relationships.

Merging new ideas, from my previously learned skills

• At the end of ‘making room for innovation’ I discussed the merging of the techniques already applied within this project with new ones, from my prior learning, such as Print making and Cyanotype.  As far as meaning goes, methods such as cyanotype and Decolourant Paste tie in well, as they are used to take the colour out of the fabric.  I see this in the genre of repair, as symbolising the taking away of a bad memory, or leaving an imprint of the memory rather than the full emotional event in “colour” as it were.  This links to Part One of this course, where I investigated the use of negative imagery with bleach like methods.  If employed, this would tie in with my whole course and convey synthesis.  This idea needs to be written down here,  in case the above plans lead to dead ends.  It is the weakest one to pursue from the above, as it could potentially mushroom and take over my entire project without me being able to fully cover it deeply, lessening my narrowed down focus which I am driving at accomplishing.  However this is an area I wish to test and it is my plan to explore this later within my practice.

Final thoughts

I have given myself a slight warning at this stage, as balance must be ascertained, in order to narrow my focus and make strong judgements as I push through my project.

Too many strains of thought will lead to lack of the portrayal of discernment; thus I am endeavouring to exhibit a well-connected and reflective creative process while also having  stray trains of thought, unconnected ideas and even unconnected, random elements of practical work.

Thus I have made the decision to cut out the ideas above in red.  I see them as enemies to my narrowing focus.

I have been careful to look at the techniques and tests so far which work together, rather than drift my project apart.  For example, when I want to look at Body Language, my figures in stitched form or in a sculptural context all tie together, where as if I incorporated all the print making on top, this would get lost.

I will now use the above to action my work in Parts Four and Five.