Formative feedback
| Student name | Ailish Henderson | Student number | 512344 |
| Course/Unit | Textiles 3: Personal Specialism | Assignment number | Three |
| Type of tutorial | Video | Call date | 15/11/2018 |
Written by the student, and endorsed by the tutor with additions/amendments in blue.
Summary of tutorial discussion
The discussion began with Rebecca holding up my small knitted doll. At this point the connection via video was bad, thus though lip reading I perceived the comments below:
My body of work was:
Confident
Paired back
‘On to something’
Investigating possibilities
Challenging via material and technique use
Grown Up
Exciting
Feels different and confident
She saw my sculptural dolls as:
- Classless
- Stripped of culture
- A raw state
- Raw in themselves
The use of materials was ascertained as clever, linking so much meaning through the fibres and fabrics etc used.
Deep thinking was shown by myself – The temptation could have been to go off in many different directions, yet I have remained focused, which has made the work stronger.
Rebecca explained a bit about the course as a whole. There is no need to follow it dot to dot slavishly. I have developments which really explore the latter parts of this course, thus if I handed in my work as it is now, it would pass! So at this stage I need to be cautious about where I take the work from this point.
Rebecca told me that I am nearly there!
There are several suggestions from Rebecca on this, which she perceived through my own to do lists at the end of Part Three. Namely:
- Drawing – Bigger, A2 scale. Informed by my sculptures. Play. Stitch can be added but does not need to be used completely. Use of drawing materials other than embroidery. Rebecca noted that due to the raw notes in my work, big drawings could be abstract and not too detailed. They don’t have to look like my sculptures, they could be a ‘sense’ of them. Suggestion to watch Tracey Emin documentary.
- More sculptural forms like ‘I am 5ft 2 and ¾. I outlined that I wanted to explore body language between two people, the reactions from hurts, observed through the posture etc. I plan to make the head/s out of Jesmonite, so exactly the same “weight” as my prototype, so that I can note what happens with equal chances. Adhering to my interest in sensitive choice of materials and transposing emotion through those employed, I will be using different materials to create the bodies, yet still in the same raw colour way. Looking at this from a personal level, which weaves in with my whole practice, I am asking myself what materials would make a body which shows a person is distant, hurtful, precocious, fickle…in other words one who has caused past hurt? I have my ideas and with implement them within Part Four onwards.
- I suggested filming my large sculptural dolls, as I had noted how ‘5ft 3 and ¾’ tended to drape and change its position of its own accord, due to the weights of the head and body being in opposition. The interaction of another sculpture would add the body language between two individuals and this is what I wish to discover. Rebecca agreed with this and suggested taking my sculptures out and about, photographing them at bus stops, on the bus, transport methods, the supermarket, noting how others would react and interact with them. Film and photo use can both be used. I told Rebecca about my invitation to exhibit at The Spring Knitting and Stitching Show in 2019…the sculptures will be coming with me and thus this is the ideal platform to observe audience reaction.
- Another film or more than one was suggested to be made as an interview type piece, so that I could personally explain the work. The films could be uploaded on Vimeo for assessment and audience interaction.
I asked Rebecca about certain future parts of the course. For my own understanding, these points are noted for me to remember:
- Bind essay professionally and get two copies done for ease at assessment.
- I want to get some professional items made to finish my work, such as photo books at I did for previous parts of my BA. I got professional boards printed of my work for The Great Northern Contemporary Craft Fair in 2018, so I could look into this too.
- When presenting my work, Rebecca said that simple was best, simple in colour choice of folder, raw materials etc. Very like how I had sent the work to Rebecca. Neutral.
Final thoughts on the last part of the course from Rebecca:
- Take the time to complete the course as needed, don’t rush it!
- Aim for Summer Assessment in 2019 if possible.
- Part Five of the course isn’t really about work, it is about tying up the work.
- I have a body of work now already, I don’t need to make lots more, I just need to be thoughtful how I use the existing work and what I do with it / from it.
- I have lots of ideas which can be actioned on choosing through the final course of Textiles 3, Sustaining your practice.
- My deadline agreed for Part four is April 24th but this can be changed.
Points to take on board
Filled in by tutor
| Strengths | Areas for development |
| Tutor name | Rebecca Fairley |
| Date | |
| Next assignment due | 24th April 2018 |
Ailish Henderson 512344 oca textiles Level 3: Personal Specialism and research 