Knowledge and Understanding
I have developed a broad knowledge and understanding of the art textile field by research at V&A (Embroidery and Tapestry class), Fashion & Textile Museum (Artist Textiles exhibition and others), and Warners Textile Archive. I have also investigated into the portrayal of women in art in the last century at National Portrait Gallery, Tate Gallery, British Library and other art establishments.
I have found the integration of concept into the finished object to be difficult, particularly to achieve the quality of finish across a wide range of making techniques. Some potential applications of my ideas have been conceptualised but not worked, due to my lack of practical skills to create the object that links with the concept. I have enjoyed the thinking that "My Mother's Work" has engendered and have discovered that my thinking and reasoning skills are stronger than my making and finishing skills.
The integration of the intention to the object has a major impact on my professional practice in the contemporary arts arena. As "My Mother's Work" has a strong link to equality policies relating to gender, age and ethnicity, a key market for my ideas is any exhibiting organisation that receives funding from Government and is required to demonstrate how they target and celebrate various under-represented groups. Additionally for my degree show, my concept has been applied to art objects, but could be developed for commercial repeat pattern fabric (fashion and upholstery). I have used "My Mother's Work" imagery for professional promotion by creating fabric to wear at the Private View and New Designers exhibition to associate me with my artistic product.
Skills, Attributes and Conceptual Skills
I have linked the under-recognised skills of women, with a personal interpretation of a commonly held experience, and applied this concept to a variety of domestic objects that resonate with the subject.
I have thought extensively and broadly about the traditional role of women, and sought to identify how they are represented in the fine art and contemporary applied art fields. I have looked at fine art work, read widely, visited exhibitions, museums and galleries, to inform my view, then applied my findings to my artwork and a selection of pertinent objects.
While taking ownership of my work, I have found it ponderously slow to analyse what goes well/badly, but have maintained motivation, and sought feedback. It was easy to identify the concept; narrow the theme to women, their under-valued skills and contributions and my Mother's kitchen implements. I found it difficult to identify how to portray the theme; to narrow down to one artistic style, (creating form by cross hatching), and to have the confidence to run with creating artworks that recognised and celebrated the skills of women.
Practical Skills
I have experimented with emerging media (digital textile print, Photoshop) and traditional techniques (hand and machine embroidery, knit, dressmaking), and to link tradition and innovation with a concept.
Development and refinement of making has been demonstrated by the selecting of different fabrics and edges (jam covers); innovative use of non-standard, uncoated fabric on the digital printer (roller towels); and creating an appropriate shape and stripes via the use of photoshop (tea towels), each of which were combined with a hand intervention. Less experimentation has been implemented when a classical object was desired (coat lining) or where high skill levels were already possessed (knit), as a contemporary message was embedded within the traditional technique.
Transferable Skills
I have worked steadily and persistently to the deadlines. I made best use of time by changing between projects when conceptual or creative obstacles impeded progress, and blending research visits with intense periods of making.
I actively seek out new information and experiences and constantly question and listen to people who are different to me. This enriches my life, by demonstrating there are many right answers, and many right ways of expressing a concept. I have constantly questioned what goes well/badly at every stage of the making process. I conclude that my thinking is more refined than my making, although I have discovered the impact of the parasympathetic nervous system when handling fabrics considerably aids my ability to reflect and then draw conclusions. Once I have completed my analysis I am able to argue my case articulately and sum up with one pithy statement. I have shared my analysis and feedback skills with the student group.
I am a confident communicator using formal presentations, informal seminars, and casual conversations. I can write in a manner appropriate for the audience, using correct grammar and punctuation. I have delivered presentations to business audiences, student seminar groups and the Tapestry and Embroidery class at the V&A and the Women's Interfaith Network. I contribute to other student's work by considering and giving feedback during seminars. I draw a lot, both in classes and at exhibitions to embed my observations into memories.
I have used information from journals and articles on Studynet, books, museums, exhibitions and galleries. I am constantly curious and enjoy speculative visits and outings to seek out people whose experiences have been different to mine. I listen to a lot of people talking knowledgeably about their subject, via lectures (Tate, National Portrait Gallery, V&A) and at exhibitions (Spirit of Womanhood exhibition; Knit & Stitch).
I have been persistent in the pursuit of my studies. I have built an extensive network of contacts by attending various events. I always talk to the organisers and tutors, to express appreciation of their efforts, and ensure management know of their staffs' successes!
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