A thoroughly excellent tutorial with Vanda. We chewed the fat about my progress review and came up with the following action plan. I am now in high good humour!
Women's Work: (Unseen) - Jam Cover Collection
1. Photograph all jam covers individually
2. Scan one on white paper, and one on grey paper. Decide which works best.
3. Do rest likewise.
4. Find out how to make professional looking photobook.
- Look up Photobox and other similar companies
- Consider size of print relative to page
- Consider matt or gloss pages
- Consider whether script to be included
- Consider whether script to be black/grey/.....
- Consider whether to have individual letters in colour
(what about the letter O in colour, as circles are important to me?)
- Find the graphics tutor and ask where their students get their art books made.
- Consider whether images are on both sides of pages; facing page only; script one
side and image facing; single images only; double layered images .....
Women's Work: (Upholstery) - Part of the Furniture collection
5. Make the upholstered chair less obvious, focus on the message
6. Look up Timorous Beasties
7. Clarify meaning of subversive and subliminal
8. Stitch works on arms.
9. Consider stitching white on white, or grey on white .....
10. Consider type of print and placement of stitch
11. Consider difference of functional object - v - work about a functional object
12. Print images from Made.com website. My object does not need to function.
13. Consider different stool shapes (chairs might be too difficult to upholster - keep it
simple).I like the idea of a round stool - there are many circles in women's work
in the kitchen.
14. What about a two legged stool? (Women might need an upholstered stool to sit
down and rest, but we would not want them to be comfortable!) What about
some balls embroidered with messages,so they can be kept in the air at the same
time?!
15. Create sketchbook with images of different furniture.
16. Consider footstool styling
17. Find format of stool
18. Implication of depth of padding
19. All round - different print; different legs; different depth of padding; different placement of print.
Women's Work: (Unending) - Roller Towel Collection
16. What about a round tea towel?
17. Uniform becomes design - therefore don't do uniform
18. What about perspex rollers? The towel is the message, not the roller.
Rollers to be anonymous
19. Find out how to make roller towel fabric authentic. Contact Initial, or Ebay?
20. Authentic cloth.
How to print? Screen printed; sublimination print; just stitch?; no print;
print stripes on;
21. How much imagery? One, several, multiple? Even or uneven?
22. Confusion and jumble. Look at Tilleke Schwartz - use of space and busy-ness.
Not much to do then!
Saturday, 15 February 2014
Tuesday, 11 February 2014
And a new plan
Jam Covers
Look up dutch jumper collection - e book
Try stab stitching transparent covers together
Investigate photo book.
Roller Towels
Create design for cake making and shepherds pie
Create design for all different utensils in one line
Create design for different utensils in random allover pattern
Lift textured marks from monoprint samples
Work out series of numbers/words/phrases to apply to roller towels
Part of the Furniture
Collage drawings onto photos of chair/stool
Create repeat patterns using multiple kitchen objects
Look up Mark Titchner
Also, having spoken to Freddie Robins, external examiner, today, she commented that as a group we were not good at using scale, colour or finding an appropriate use of ground fabric. While I agree with this, certainly in relation to my own work, I don't think we have ever been taught anything about these subjects, and at present I am trying to do something comparatively simply, very well. Adding colour and scale into my mix would just confuse things, I think. There was also an extended conversation with Freddie about pattern making. I don't think any of the class have done a pattern making module, which I find to be a significant omission from our course, although I covered this ground in Perth. I was trying to focus on the single object and use it well, but feel I am being directed towards repeat pattern both by my tutors and external circumstance.
Look up dutch jumper collection - e book
Try stab stitching transparent covers together
Investigate photo book.
Roller Towels
Create design for cake making and shepherds pie
Create design for all different utensils in one line
Create design for different utensils in random allover pattern
Lift textured marks from monoprint samples
Work out series of numbers/words/phrases to apply to roller towels
Part of the Furniture
Collage drawings onto photos of chair/stool
Create repeat patterns using multiple kitchen objects
Look up Mark Titchner
Also, having spoken to Freddie Robins, external examiner, today, she commented that as a group we were not good at using scale, colour or finding an appropriate use of ground fabric. While I agree with this, certainly in relation to my own work, I don't think we have ever been taught anything about these subjects, and at present I am trying to do something comparatively simply, very well. Adding colour and scale into my mix would just confuse things, I think. There was also an extended conversation with Freddie about pattern making. I don't think any of the class have done a pattern making module, which I find to be a significant omission from our course, although I covered this ground in Perth. I was trying to focus on the single object and use it well, but feel I am being directed towards repeat pattern both by my tutors and external circumstance.
A Thought Provoking Progress Review
I had my progress review with Sally and Steve today, about my 4 collections for final degree project.
Jam Jar Covers (Unseen)
Steve and Sally were quite pleased with these, and were handling them and looking at the stitch in detail. They liked the variety of threads, hand and machine work. Sally suggested I should photograph them individually, and this made me remember an idea I had to create a little photobook, that played on the circular nature of them.
I said I was struggling with how to display them, and currently concluded they should be stacked in grouped piles (vice Edmund de Waal). They disagreed with this, as they liked them layered in pairs and trios, maybe displayed vertically and backlit. I said they curled up in the studio atmosphere (hot and either dry or humid) and I could not work out how to display them vertically. Sally suggested stab stitching invisibly together and putting link stitches to create a grid of covers. Although I can do this, the fabrics are cut on the cross and are therefore fragile; they warp and distort in heat. We discussed various ways of displaying them to accentuate the workmanship effectively, but none of them would work. Displaying them between two sheets of glass would be cumbersome, and detract from the textile qualities. Ironing on cellophane backings will not last long enough. Adding a woven or fused backing will detract from the delicacy of the materials. Putting a light box underneath shows the stitch when a couple of covers are stacked, but the effect of the fabric is lost. Further thought required.
Roller Towels (Unending)
The three lengths of towels worked well but Steve questioned the use of iconography. They wanted a coded diary of use, playing on repetition and narrative. They did not like the consistent spacing of items down the right hand side. I said I wanted to use more space between and to use a wider range of utensils, so none were repeated. Steve suggested a random spacing all over the fabric. Sally suggested a sequence of utensils used in one dish, eg cake making, shepherds pie. Possibly culminating with a bowl full of the different utensils at the bottom of the longest roller towel.
I said I was considering putting different numbers against each image, possibly with the numbers increasing as the roller towels got longer. They suggested putting dates or quantities instead, the most obscure the better, to make the audience work to understand the work. Or putting standard phrases from recipes like "cream until light and fluffy". Or spacing images in line with timings of preparation. Currently the spacings were too uniform.
We looked at the mark making on the digitally printed monoprint sample. I was not taking this further as no-one had given me positive feedback about it. Sally suggested I digitally lift some of the textured areas that suggested cake making spatula marks and layer this with the hand drawn utensils. Or lift some of the circular marks that look like scouring scratches and use them. I quite like this idea, to use marks that suggest a patina of use.
I said I had thought about putting one through the wash constantly until final show, or abrading holes and darning them, and little patches to mend, maybe with a stitched comment. We discussed burning holes (no, too many negative associations with my Mum's accidental cigarette burns and the smell of stale smoke!), and scorched iron marks. Abrading yes, but burning definitely no!
Part of the Furniture
I said I was making an upholstered collection of a rocking chair and footstool, both of which have detachable cushions. These would be placement prints: the chair with a colander drawing and cross stitched "drained" and footstool with pastry in a bowl and "resting". Steve favoured a multiple pattern over the fabric, so the message took more time to consider. Single objects are too easily read. Sally suggested words on the arms of the chair - so the tactility of the stitch was felt. The message needs to be embedded in domestic language or more hidden. Consider how to make less in your face. Too like a t-shirt with a slogan. Sally suggested photographing the furniture and collage ideas onto them. She suggested putting the word "Drained" on to a button if the cushions were buttoned, or a phrase along a line of quilting through the cushion (which is what this chair has). Steve suggested looking at Mark Titchner (nominee for Turner Prize).
Steve said there were 4 options. Domestic pattern, format (poster type), structure, or placement print. He was not in favour of placement print.
Jam Jar Covers (Unseen)
Steve and Sally were quite pleased with these, and were handling them and looking at the stitch in detail. They liked the variety of threads, hand and machine work. Sally suggested I should photograph them individually, and this made me remember an idea I had to create a little photobook, that played on the circular nature of them.
I said I was struggling with how to display them, and currently concluded they should be stacked in grouped piles (vice Edmund de Waal). They disagreed with this, as they liked them layered in pairs and trios, maybe displayed vertically and backlit. I said they curled up in the studio atmosphere (hot and either dry or humid) and I could not work out how to display them vertically. Sally suggested stab stitching invisibly together and putting link stitches to create a grid of covers. Although I can do this, the fabrics are cut on the cross and are therefore fragile; they warp and distort in heat. We discussed various ways of displaying them to accentuate the workmanship effectively, but none of them would work. Displaying them between two sheets of glass would be cumbersome, and detract from the textile qualities. Ironing on cellophane backings will not last long enough. Adding a woven or fused backing will detract from the delicacy of the materials. Putting a light box underneath shows the stitch when a couple of covers are stacked, but the effect of the fabric is lost. Further thought required.
Roller Towels (Unending)
The three lengths of towels worked well but Steve questioned the use of iconography. They wanted a coded diary of use, playing on repetition and narrative. They did not like the consistent spacing of items down the right hand side. I said I wanted to use more space between and to use a wider range of utensils, so none were repeated. Steve suggested a random spacing all over the fabric. Sally suggested a sequence of utensils used in one dish, eg cake making, shepherds pie. Possibly culminating with a bowl full of the different utensils at the bottom of the longest roller towel.
I said I was considering putting different numbers against each image, possibly with the numbers increasing as the roller towels got longer. They suggested putting dates or quantities instead, the most obscure the better, to make the audience work to understand the work. Or putting standard phrases from recipes like "cream until light and fluffy". Or spacing images in line with timings of preparation. Currently the spacings were too uniform.
We looked at the mark making on the digitally printed monoprint sample. I was not taking this further as no-one had given me positive feedback about it. Sally suggested I digitally lift some of the textured areas that suggested cake making spatula marks and layer this with the hand drawn utensils. Or lift some of the circular marks that look like scouring scratches and use them. I quite like this idea, to use marks that suggest a patina of use.
I said I had thought about putting one through the wash constantly until final show, or abrading holes and darning them, and little patches to mend, maybe with a stitched comment. We discussed burning holes (no, too many negative associations with my Mum's accidental cigarette burns and the smell of stale smoke!), and scorched iron marks. Abrading yes, but burning definitely no!
Part of the Furniture
I said I was making an upholstered collection of a rocking chair and footstool, both of which have detachable cushions. These would be placement prints: the chair with a colander drawing and cross stitched "drained" and footstool with pastry in a bowl and "resting". Steve favoured a multiple pattern over the fabric, so the message took more time to consider. Single objects are too easily read. Sally suggested words on the arms of the chair - so the tactility of the stitch was felt. The message needs to be embedded in domestic language or more hidden. Consider how to make less in your face. Too like a t-shirt with a slogan. Sally suggested photographing the furniture and collage ideas onto them. She suggested putting the word "Drained" on to a button if the cushions were buttoned, or a phrase along a line of quilting through the cushion (which is what this chair has). Steve suggested looking at Mark Titchner (nominee for Turner Prize).
Steve said there were 4 options. Domestic pattern, format (poster type), structure, or placement print. He was not in favour of placement print.
Sunday, 9 February 2014
Cutting upholstery patterns
I have made less progress today than I had hoped, but feel quite positive about the quality. I was very wary about cutting the hamp/ramie fabric for the rocking chair. I was also reluctant to cannibalise the original covers on the chair. So I have spent the afternoon carefully measuring the upholstery cushions, and creating paper patterns for each piece. Slow work but it will make cutting the pattern much easier.
I am now wondering whether I should make up a lining for each upholstered cushion. The originals don't have them, but I wonder whether they would make the hemp/ramie sit better? Or would the linings ruck up and sit wrongly? Or maybe the lining fabric should be stitched direct to the hemp cover fabric, then made up as an integral part of the cover? I need to find out about scotchguarding the fabric too.
I am now wondering whether I should make up a lining for each upholstered cushion. The originals don't have them, but I wonder whether they would make the hemp/ramie sit better? Or would the linings ruck up and sit wrongly? Or maybe the lining fabric should be stitched direct to the hemp cover fabric, then made up as an integral part of the cover? I need to find out about scotchguarding the fabric too.
 |
| Cutting the seat pattern |
 |
| Cutting the zip facing |
Saturday, 8 February 2014
External Examiners
We were told to get our work staged by 1000 yesterday for the external examiner. I had been out in London every day this week, so had failed to set up my work, and when I saw the appalling weather early in the morning, decided not to go to class. But Antje was upset that my work was not there, so at 1100 I decided to give the journey a try, as the rush hour was over. I checked the traffic reports, decided to avoid the motorway, planned a couple of alternative routes and set off. There were a few roads closed but I arrived at uni at 1300, having made my way through a couple of waterlogged roads via Sawbridgworth and Harlow. I threw my research, exhibition folders, print samples, jam jar covers and textile samples on a wall and desk, just in time for the External Examiner's review session.
I went upstairs to the 2D workshop and was delighted that my hemp/ramie upholstery fabric and cotton roller towel fabric had both been printed. I spent the afternoon steaming them, before taking them home. As the weather forecast continues with more storms and rain, it is quite possible that I won't make it in to class on Monday or Tuesday (when I am scheduled for a progress review). I dislike driving in inclement conditions; my normal route is easily affected by bad weather; and I am particularly wary of situations where I can be stranded eg if the car conks out with unexpected flooding. Having prepared the fabric for two projects, I have plenty to be going on with if stuck at home for a few days!
This afternoon I washed the roller towel fabric; cut, pieced and edged the 3 different roller towel lengths, and put them on to wash again. They are still at the resolved sample stage, rather than finished pieces. Being critical, I have not spaced the imagery sufficiently on the fabric; I need to resolve what numbers go with each utensil; whether a phrase needs to be stitched on as well; and would it look better on a pale cream fabric, rather than white. I cannot stitch at present as I broke my thumbnail a couple of days ago, and cannot hold a needle. But in principle, I think this collection of roller towels works well.
Additionally, I popped back into the studio yesterday, as I was leaving. The External Examiner had appeared to have looked at my work, and left two of my books open. One showed my plan of work for the coming weeks (I'm so pleased I thought to create a plan!) and the other was a sketchbook open at a line drawing of a lemon squeezer, drawn with a stick. So do I need to do more drawings with an irregular outline, rather than the careful dimensional shading? Hmmm!
I went upstairs to the 2D workshop and was delighted that my hemp/ramie upholstery fabric and cotton roller towel fabric had both been printed. I spent the afternoon steaming them, before taking them home. As the weather forecast continues with more storms and rain, it is quite possible that I won't make it in to class on Monday or Tuesday (when I am scheduled for a progress review). I dislike driving in inclement conditions; my normal route is easily affected by bad weather; and I am particularly wary of situations where I can be stranded eg if the car conks out with unexpected flooding. Having prepared the fabric for two projects, I have plenty to be going on with if stuck at home for a few days!
This afternoon I washed the roller towel fabric; cut, pieced and edged the 3 different roller towel lengths, and put them on to wash again. They are still at the resolved sample stage, rather than finished pieces. Being critical, I have not spaced the imagery sufficiently on the fabric; I need to resolve what numbers go with each utensil; whether a phrase needs to be stitched on as well; and would it look better on a pale cream fabric, rather than white. I cannot stitch at present as I broke my thumbnail a couple of days ago, and cannot hold a needle. But in principle, I think this collection of roller towels works well.
 |
| Ironing the longest roller towel |
 |
| Pressing the seam |
 |
| Neatening the edges |
 |
| And again |
Additionally, I popped back into the studio yesterday, as I was leaving. The External Examiner had appeared to have looked at my work, and left two of my books open. One showed my plan of work for the coming weeks (I'm so pleased I thought to create a plan!) and the other was a sketchbook open at a line drawing of a lemon squeezer, drawn with a stick. So do I need to do more drawings with an irregular outline, rather than the careful dimensional shading? Hmmm!
Thursday, 6 February 2014
US Visa, Artist Textiles and Hannah Hoch exhibition
Busy, busy day. I had to go to London on a tube strike day to have an interview for my visa. This is required as Jim and I plan to cycle across the USA from San Francisco to Washington once I have finished my degree.
Then I met with a friend to go to the Artist Textiles exhibition at the Fashion and Textiles Museum.There were lots of fabrics and silk scarves on display, but in my opinion most of them were not particularly successful as fabrics. They had been created to showcase various top artists (Miro, Picasso, Scott, Moore, Dali, Matisse, Heron). It was a very interesting exhibition to view, although some information that I would have liked to have known was omitted. Many fabrics displayed were produced in the post war period to boost Britain's shattered economy. I would have liked to be told the price of a yard of the fabrics, or scarves, in UK£, US$, the exchange rate at the time and a typical working man's wage. This would have given context for just how expensive fabrics were, as my impression is that although they state Edinburgh Weavers targetted high end, Heal's middle ground, and David Whitehead targetted the inexpensive, my suspicion is that most of it was expensive by my judgement, and targetted the export market.
I liked the textiles by Victor Vasarely (1950s cups), a black and white doodle print by Eduardo Paolozzi, and a lovely church architecture print by John Piper with some lovely mark making. Unfortunately none of these was available as a postcard, and a Andy Warhol pocket watch print. I did not take my camera, as you are not allowed to take much into to US Embassy, so I was travelling with the minimum of baggage. I made a few sketches instead.
Then we walked to the Whitechapel Gallery to see the Hannah Hoch exhibition.
Then I met with a friend to go to the Artist Textiles exhibition at the Fashion and Textiles Museum.There were lots of fabrics and silk scarves on display, but in my opinion most of them were not particularly successful as fabrics. They had been created to showcase various top artists (Miro, Picasso, Scott, Moore, Dali, Matisse, Heron). It was a very interesting exhibition to view, although some information that I would have liked to have known was omitted. Many fabrics displayed were produced in the post war period to boost Britain's shattered economy. I would have liked to be told the price of a yard of the fabrics, or scarves, in UK£, US$, the exchange rate at the time and a typical working man's wage. This would have given context for just how expensive fabrics were, as my impression is that although they state Edinburgh Weavers targetted high end, Heal's middle ground, and David Whitehead targetted the inexpensive, my suspicion is that most of it was expensive by my judgement, and targetted the export market.
I liked the textiles by Victor Vasarely (1950s cups), a black and white doodle print by Eduardo Paolozzi, and a lovely church architecture print by John Piper with some lovely mark making. Unfortunately none of these was available as a postcard, and a Andy Warhol pocket watch print. I did not take my camera, as you are not allowed to take much into to US Embassy, so I was travelling with the minimum of baggage. I made a few sketches instead.
Then we walked to the Whitechapel Gallery to see the Hannah Hoch exhibition.
Wednesday, 5 February 2014
An excellent day at the V&A
It was the last class of the V& A course Women Artists. The first session was class members delivering presentations on a favourite woman artist of their choice. There were seven of us presenting. I spoke on Lucienne Day, other class members spoke on Gwen John, Laura Knight, Marlow Moss, Gillian Ayres and Lucy Rie (and one other I missed ).
The tutor spoke about Dod Proctor, Lee Miller, Ithell Colquhoun, Bridget Riley, Paula Rego Tracy Emin and Sarah Lucas. So we covered a huge range of women and artistic styles. I thoroughly enjoyed the class, and we gelled well together. So when I was completing the feedback form and was listening tomcomments from other course members, I was quite astonished with some of the carping criticism. People felt the course covered too great a range (but did not cover "their" favoured artists!); the course was too short (it was a new pilot course to gauge the market), too much audience participation (!), they did not like the tutor's style (she was an elderly lady who said she had chosen not make a "feminist" art course but a "women's" class). Yet I found it excellent. I could not have committed to 10 weeks at this stage in my course; I am quite open minded about which artists I hear about and quite like some well known women, combined with under-sung heroines that are relatively unknown; I want to listen to all sorts of speakers (old, young, disabled, varied ethnicity) so long as they are knowledgeable in their subject; and althouggh I am interested in feminist art, such a class should be marketed as such. I think we had excellent value forwhat we paid. Particularly in relation to the costs of a university course!
In the afternoon Sue Stockwell spoke about her practice as an artist. Really excellent speaker. She trained as a sculptor with a particular fascination with materials. She uses a lot of found materials, sawdust, rubber inner tubes, tea bags and coffee filters, toilet paper. She has a fascination with maps, which commenced when she was a sole tea drinker amongst coffee drinkers in the US. Sue has done some wonderful maps of the US created from used tea bags and coffee filters.
Another series was about underground maps when she worked with the London Transport museum. She had very homesick when in the US and started stitching the LU map on handkerchiefs, then produced on a silk hankie with the Stockwell roundel in the corner. She has done road maps as cut paper arts, making the roads intolace or arteries, and superimposed red route road maps onto the River Thames, the embroidered the red routes on her granny's blanket.
Sue made a wonderful paper quilt for the V&A Quilts exhibition, using low value Chinese paper money. Also dresses made of money, using style and paper money as an indicator of wealth. Also uses OS maps and atlases to make dresses that comment on colonialism and empire by using sections that show the former British empire. Sue is now using recycled computer boards (some of which are only 2 years old) to make world maps. She works with themes that have a political agenda. She has a passion for injustice and inequality, portrayed with a high aesthetic in a democratic and accessible format. Her materials can be a curator's nightmare. She is interested in using her own voice via accessible materials and an interest in the ordinary. Sue feels her work is best received in the V&A context or via Crafts magazine. She does things, and omly later understands what itis all about. She explores male and female qualities and believes her work has an appeal that is universal to many but also personal to her.
She is very interested to explore ordinary materials and states all materials have histories and references. For the less precious the material, the better the effect.
An excellent lecture.
The tutor spoke about Dod Proctor, Lee Miller, Ithell Colquhoun, Bridget Riley, Paula Rego Tracy Emin and Sarah Lucas. So we covered a huge range of women and artistic styles. I thoroughly enjoyed the class, and we gelled well together. So when I was completing the feedback form and was listening tomcomments from other course members, I was quite astonished with some of the carping criticism. People felt the course covered too great a range (but did not cover "their" favoured artists!); the course was too short (it was a new pilot course to gauge the market), too much audience participation (!), they did not like the tutor's style (she was an elderly lady who said she had chosen not make a "feminist" art course but a "women's" class). Yet I found it excellent. I could not have committed to 10 weeks at this stage in my course; I am quite open minded about which artists I hear about and quite like some well known women, combined with under-sung heroines that are relatively unknown; I want to listen to all sorts of speakers (old, young, disabled, varied ethnicity) so long as they are knowledgeable in their subject; and althouggh I am interested in feminist art, such a class should be marketed as such. I think we had excellent value forwhat we paid. Particularly in relation to the costs of a university course!
In the afternoon Sue Stockwell spoke about her practice as an artist. Really excellent speaker. She trained as a sculptor with a particular fascination with materials. She uses a lot of found materials, sawdust, rubber inner tubes, tea bags and coffee filters, toilet paper. She has a fascination with maps, which commenced when she was a sole tea drinker amongst coffee drinkers in the US. Sue has done some wonderful maps of the US created from used tea bags and coffee filters.
Another series was about underground maps when she worked with the London Transport museum. She had very homesick when in the US and started stitching the LU map on handkerchiefs, then produced on a silk hankie with the Stockwell roundel in the corner. She has done road maps as cut paper arts, making the roads intolace or arteries, and superimposed red route road maps onto the River Thames, the embroidered the red routes on her granny's blanket.
Sue made a wonderful paper quilt for the V&A Quilts exhibition, using low value Chinese paper money. Also dresses made of money, using style and paper money as an indicator of wealth. Also uses OS maps and atlases to make dresses that comment on colonialism and empire by using sections that show the former British empire. Sue is now using recycled computer boards (some of which are only 2 years old) to make world maps. She works with themes that have a political agenda. She has a passion for injustice and inequality, portrayed with a high aesthetic in a democratic and accessible format. Her materials can be a curator's nightmare. She is interested in using her own voice via accessible materials and an interest in the ordinary. Sue feels her work is best received in the V&A context or via Crafts magazine. She does things, and omly later understands what itis all about. She explores male and female qualities and believes her work has an appeal that is universal to many but also personal to her.
She is very interested to explore ordinary materials and states all materials have histories and references. For the less precious the material, the better the effect.
An excellent lecture.
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