2.0.1 Cultural Activity

Manchester Gallery

During my Brake from university I have visited a number of museums and galleries, to give me both a varied understanding, and the ability to experience contemporary and classic practitioners. I have visited; The Museum of and Science and Industry, Manchester, Museum d'Histoire Naturelle, Le Havre, and The Guggenheim Museum, Blibao. But have found the most inspiration closer to home in the Manchester Gallery, I was really inspired by the different ways artist had grouped materials and objects together and the massive difference there choices made. I have chosen these images (above) as I was particularity attracted to the care and detail taken with each component combined with precise mathematics, it has made me think about the ways in which materials can be selected and interoperated into my work, whether it be using typical or modified components.

Lisbon

While on holiday I visited many different countries but Lisbon stands far above the rest. Finding a few key images form Lisbon is impossible, being one of the oldest cities in the world and the largest in Portugal with important roles in finance, entertainment, art, and trade there is food for the eye everywhere! There are no buildings or streets the same, each building be it new, old, or falling down is beautiful in its own right. While walking round the city I felt that each building was complemented by the neighbouring structure, space, or even the decorative footpath. Art flows through the capital, with street art redefining the wasted skeleton buildings and tiles that lighted up even the most sinister alleyway, colour and pattern are rife in this land. Lisbon for me was an entirety of inspiration. Revelation, enthusiasm, and incentive was received at every corner. Seeing how one could never find the 'best part' of this city artistically, shows me how important each and every piece that is inserted into any kind of artwork is. This enlightenment on the combination and use of materials is something I am keen to monitor while I design and make in the future.

Guernsey

Amidst my travels I visited St. Peter Port the capital of Guernsey part of the channel Islands. Although the architecture was delightful it is not what I wish to highlight Guernsey, although not part of the united kingdom, it is a possession of the British Crown and thus shares a lot of similarities with England such as it telephone boxes, post boxes, and currency, but with a slight twist. I was rather fascinated and excited by the different colours Guernsey used and also how its currency looked different (but was that same) to England’s. It is this 'twist' on comment objects that has captured my imagination, it has made me think of all the 'ordinary' ways pieces in art, interiors, weaving ect. are selected, and how they could be changed. Even the slightest change, such as colour, makes a huge difference. What if the texture, finish or pattern was slightly altered, I am mesmerized by this way of thinking and am eager to interoperate this experimentation into my work.

1.3.11 Concluding Samples

Concluding Samples 

These two final responses, to the Unit X Fairgrounds project, embody collaboration using aspects from both stitch, weave, and print to create there structure, texture, and pattern. In conveying my theme collaboration have been vital due to my multi-themed direction; looking at both thrill rides and the reactions experienced. Stitch has been the foundation for my structural side creating both flowing and robust designs mirroring that of the elaborate thrill rides. Although initially I struggled with weave once I began to experiment with off-loom techniques I immediately saw the potential for texture that resembled symptoms of fear such as itchy, stiff, and Piloerection (Goosebumps).

By having this focus on collaboration within this unit I have learnt a lot about both weave and stitch and the ways in which they can be combined. This focus has been liberating in many aspects, as it has made me see "outside the box" by becoming more experimental in creating samples; not keeping to a strict method or technique. For example I feel that a lot of my textural work contains off-loom weaving through straight line embroidery that reassembles that of a warp and/or weft. I would like to develop this use of collaboration into future projects as it gives me the ability to diversify my work while remaining close to an initial brief.   

Final Inspiration

Above is a collage of my inspiration for these concluding samples; gathered from throughout this unit and all well developed; with influences from designers Matthew Shlian and Mika Barr. 

1.3.10 Finalising Designs

Three Dimensional Samples

In my final week of Unit X I have chosen to focus on the collaboration aspect, combining both weave and stitch. I would like to use my final samples as a means of concluding my theme by brining together all my key elements; sculpture, texture, and pattern.  I began this process by looking back through my work and finding shapes and formations that could be translated into three dimensional structures, I have also incorporated Matthew Shlian and Mika Barr's work thorough the repetition and movement I have created in my samples. 

Developed Stitch Samples

After looking back at my work I wanted to re-introduce the liner element that I used to record my initial research, I did this through stitch by working into a screen print and experimenting with quilting. I chose quilting as it related well to my textural aspect, reminding me of the symptoms of fear; goosebumps and erect hair.

Developed Print Designs

My final area of development was pattern, I looked back at Andy Gilmore's work and his overlapping and incorporated into my final sample (far right image). Using aspects from all these developed areas and some of my effective initial samples I will concentrate my theme and designs into a harmonised response.

1.3.9 Introducing Three Dimensions

Sculptural Samples

After creating my flat textured stitch samples I was eager to progress into the three-dimensional side that was recommended to me during the group crit. I have begun this process by looking at darts, pleats and simple folds, all of which consist of the shapes I have used in my research. Although I am very happy with these samples I feel that they could develop into something more sculptural, referring back to the work of Matthew Shlian, adding variation in the scale and a slight discrepancy in the form of each shapes may add more excitement and movement to my passementrie samples. 

1.3.8 Discovering Pattern

Various Drawn Patterns 

The first task I embarked upon was to create a good bank of drawings, using my new colour scheme and inspiration form my found artists. I focused on developing the liner patterns I found from my initial Blackpool research; I began by adding colour though only the lines but expanded into using colour in block background colours, I did this due to both the inspiration from Andy Gilmore and from the hectic busy composition of the Pleasure Beach.

Initial Print Samples

The inspiration of Andy Gilmore has lead me into the print room to create fabric that contrasts the fine lines of my drawings yet follows there geometric shapes. Although the outcomes of my print session are not amazing I feel they are a good starting point to develop, by adding more layers of colour and designing more intricate patterns that mirror those of my studies the prints will become a vital component in the structural side of my work.

Sample Responses

As I translated my drawings into stitch samples I found the twin needle especially effective in converting the dense constructional patterns I've designed. Moving onto stitch samples has made it easier to harmonize the two themes of structure and texture. The twin needle technique has been invaluable in converting the "fear factors" such as hair standing on end, prickly, and itchy. My original desire to use the random style up of Sue Hotchkins has changed to using her component of yarn that is added through different means, such as couching and contrast from loose to solid masses. The ability to use and alter fabrics has also been extremely useful, I have been able to create strong stiff fabrics and the use of PVC has been great in interpreting the another thrill ride theme of Illusion; a feature I was previous baffled on how to incorporate.

1.3.7 Colour Development

Colour Samples

One of the hardest aspects of the first half of this unit was my colour scheme, I really struggled to get to grips with the consistent bright hues. After the group crit I’ve been working on my colours, extracting colours from some of my favourite images; the pallet I settled on was one from a picture I took during the visit to Blackpool Pleasure Beach that has proved to be a heavy influence on me entire project. 

1.3.6 Group Crit

Feedback Post-It

Before we began our second half the Unit X project we participated in a group crit, during which we were able to see everyone else’s approach to the project and what to expect in the stitch section of the unit. Being able to see others work was helpful as it gave me an indication of collection variations and sizes. The most useful aspect by far was the feedback from other pupils and the tutors (above image); as written I was advised to define my colour pallet, explore three-dimensional forms, and define the liner quality of my work.

Matthew Shlian

My first response to the feedback was to do more research into three-dimensional and liner artist/designers, I directed my research to find designers that kept to the geometrical pattern of the thrill rides. Matthew Shlian is a fabulous artist and fulfils my desires of form, structure while also adding an element of movement. This element of movement is a feature perfect for my theme of thrill rides and reactions as naturally they rely on movement to create the thrill; stitch techniques that I could use to implement this movement are darts and pleats.

Mika Barr

Another three-dimensional artist I found is Mika Barr, she uses the same structural aspect but less defined; I chose this designer, not due to the subtleness but the combination she applies to her pieces, because of the way she creates her fabric means the pattern works as a print and as the bases for the structures. Implementing this dual purpose in something I would like to investigate in my samples. 

Andy Gilmore

After the all-over patterned work of Mika Barr I began to look into flat designs, keeping to the geometrical theme, I would like to explore print/surface designs in my samples to add another edge of movement and construction. Andy Gilmore was one of the most exciting artist I found using intricate liner designs alongside features I have already used; layering, scale and repetition. Moving onto print design is something I am eager to do as I believe it would be very effective to tie together two themes of texture and structure.