Part Three: Learning Log.

Raised & Structured Surfaces:

 I was working away quite happily with the applied fabric technique samples until I came to the development of the drawing stage. I chose the appropriate drawing

on the basis that I could replicate at best the objects in the sketch  by photocopying the image, cutting it up and then weaving it back together. This completely destroyed the image I had in my mind. My revised thinking was to make some sense of the convoluted result so that I could proceed with some certainty towards the action part of stage four.

I applied three different tones of red gouache paints to areas of some significance. Still did not suggest anything that I could justify as being definitive

.

Starting to doubt my ability to convert my sketches into a design.

Will move on to applying PVA glue to a piece of calico and hope for a better result.

 Will need to really open my mind to understanding how the design relates to the moulding of the glued piece of calico whilst waiting for it to dry. Used hessian, calico and nylon curtaining fabric. My guess is that a natural fabric such as cotton will manipulate better than a synthetic. Will wait and see. The other aspect is the tighter the weave the more difficult it has been to stretch the fabric over and around each mould.

Designing is not accidental. It must be something put together with an intent or goal in mind. The only exception is that it cannot fail. The outcome however may not be just as the mind perceives the image – well that’s my impression with abstract work based on creativity. The variables in this exercise have to be experienced to be believed. With all the good intentions in the world I can concede however that these exercises make the work interesting and demanding until such stage as a point of clarification is reached. Understanding then becomes believable. I await with a heightened sense of great anticipation the outcome of the drying process and the next stage of resolution of the sample.

In the meantime I will move on and think twice about reproducing the images and objects in my sketch/drawing – this seems to be the way that other students are interpreting the instructions. More of a defined and identifiable sample.

04/02/2012

OMG. O ye of little faith. Arrived at my desk this morning to view the moulds drying and lo and behold they have potential for fulfilling my wildest dreams – well at least they are showing signs of dimensional relief and once completely dry I will be able to add the appropriate stitching and embellishment -YAHOO.

Have three separate moulds which I am now not sure how far to take them?

The component parts got the better of me and I have put them together in a creative way so that each element compliments each other. The 3D effect is obvious as the moulded fabrics stand in relief with colours blending and moving from top to bottom allowing the eyes to run down automatically following the curves and the patterned pieces. The blandness of the calico actually detracts from the piece at this stage and I will need to think about how I can embellish it in order to make sense of the colour, shape and texture. Perhaps this is where I should go back to my sketchbook for some ‘brain storming’.

Took another students idea in regards to securing small screws and bits and pieces inside a piece of fabric and then boiling the object so that when it dried it kept its moulded shape and could be used to embellish my ‘resolving experiment’. No such luck didn’t work. My guess is that the patchwork fabric did not have enough dressing in it or that it had been pre-washed so that the dressing had been washed out. Will try denim drill next time as an alternative. Finished up pasting PVA on to the rubber band tied bits and pieces.

Will have to wait for it to dry now before arranging it suitably placed on to my resolving art piece.

Now faced with the conundrum of having used PVA to firm up the bits and pieces and having forced them out of the fabric I am left with a series of moulds which looking at them could become an artistic feature in themselves. What to do with them now and also should I be working in my sketchbook to record what is happening to my slowly resolving piece of art work. Should I sketch them, colour them, stuff them, stitch them – here is photo because the parcel I send to my tutor will be over the weight limits. I have carried on with this stage writing it up in my log as part of my learning phase.

Simply sewing/attaching/applique stitching moulds appropriately to form a sensual image.

Creativity has no bounds. Rather than overdo the embellishment with all the moulds I have been left with I think it wise to stop whilst I am ahead or as they say ‘having fun’ I have not backed myself into a corner but I have persevered with the design to the extent that I am happy with the outcome. There is substance, there is shape and a pattern which is discernible by standing back and asking one’s self what I am seeing and experiencing. The viewer needs to ask themselves just what is my experience when I am looking at this piece of textile art. For me personally I feel satisfied that I have reached a point where I am now OK to move on.

05/02/2012

How does working with fabric in this way compare with working directly with stitch?

Both require determination on the part of the student/artist to convert an idea into a concept by way of a plan. The plan has to be tested and allowed to evolve so that the outcome is acceptable in the eyes and mind of the fabricator/stitcher. When making the comparison with stitching techniques I experienced a sense of completeness which I put down to the smooth and picturesque tactile nature of fabric. The accuracy of piecing small irregular shapes of fabric and the cleaner and sharper machine decorative stitching thrilled me more by electric needle than the hand needle.

Are you pleased with the shapes and movements that you have created in both applique and fabric manipulation? What would you do differently?

Being the hard task master that I am about my own work I am very seldom completely satisfied and always looking to improve the quality and versatility of embellishing my efforts – wanting to see them come alive when standing back rather than up close.  I need to understand perspective better when designing and colour enhancement when choosing and selecting fabrics.

How did the pieces work in relation to your drawings? Were the final results very different from the drawings? Did the fabric manipulation technique take over and dictate the final result?

With my abstract designs I think I still have some very basic lessons to learn about “visual integrity” – that is being able to meet the expectations other viewers have of my work – herein lies the debate of who is the artist trying to satisfy – themselves or their audience?  I have few qualms about reproducing applique that is based on figures and clearly identifiable images – I think I can copy my designs very well thank you. However in saying that the fabric manipulation sample in stage four did take over and just simply evolved as I worked with the moulded fabric pieces. The effort itself was simply worthwhile.

Was it helpful to work from drawings in the applique exercise? Would you have preferred to play directly with cut shapes and materials?

Yes and no. At this stage of my studies I do not have a preferred method of working and if I had a guess it would be that both options apply depending on the nature of the design and the piece of work being progressed.

How do you feel about working with stitch in general? Is it an area you would like to pursue in more depth? Do you find it limiting in any way?

Apprehensive. Yes, as and when I see the need and/or a project that would be better resolved by stitching. At this stage, no. I see it as having no bounds and so open-ended that it is conducive to my feeling of apprehension – I feel overwhelmed more than anything. I look at the work executed by the masters and cannot help but be wildly impressed. This now opens the debate about the feelings one has for their own current status and comparing themselves with other artists rather than using it as an occasion to work towards ones own goals and achievements.

Reflective comments: Assignment Three.

The energy level is still in overdrive and the ability to work alone is constructive and self-propelled.  The amount of work in Part Three has been less but concentrated on more practical aspects of recording thoughts and workings in a sketchbook and working notebooks. The hands on work with textiles and resolution of ideas and designs has been more satisfying than the previous two parts of this module. I have a strong sense that I have made changes as suggested by my tutor but am still mindful of the fact that presentation will still be extremely important as the assessors will be of similar mind but will make their own judgement of my final efforts. I await my tutors report on Part Three.

Having e-mailed tutor of my work-in-progress dilemma  I am now having to revise the work undertaken for Part Three. I am thinking that I have still to make acceptable changes to my output and presentation in order to comply with the modules instructions. It just seems that I am hearing these things later rather than at the time of ‘going off track’.