T1-MMT-P1-p1 Folding and crumpling roundup

Part of managing my time on this course is moving on when I don’t feel finished.  So here are brief notes wrapping up, at least for now – there’s always the hope of more time later.

Grace Tan http://www.kwodrent.com/index.php is an artist suggested in the course notes. It’s easy to see why in her earlier work – piles of folded paper in Utterubbish (2007), folding and pleating leading into manipulation of strips in specimens (2008 – Commissioned for 8Q-Rate: School). Works evolve, method progresses through samples, reduction of complexity — simplicity. There is a fabulous snake of pleats flowing around a dress-form at http://www.kwodrent.com/index.php/site/projects/1 – “non-wearable textile composition based on arithmetic and number pattern.” Her more recent work is mainly installations  and architectural. An example is Building as a Body (2012) http://www.kwodrent.com/index.php/site/projects/61 where a veil of strips of material (? a plastic) reveals and conceals the facade of a building.

I didn’t see a connection to pleating and accordion folds in those strips until seeing something quite different – the new Barak building in Melbourne- see for example http://www.theage.com.au/victoria/william-barak-apartment-tower-portrait-revealed-20150303-13t31e.html. There is a lot to be uncomfortable about in the depiction of an Aboriginal elder’s face on an appartment block built on appropriated lands. For my current discussion, the point is the use of shadow lines with building (balcony) lines to form an image. In a similar way Tan’s strips work with shadows to create “pleats”. There is less weight, manipulation of the “surface” is more flexible, air and sight can move through – but it is still a development of the folding experimentation. (Note: great example of development process to consider in my own work).

Caroline Broadhead presents crumpled clothing – or at least crumpled shapes that suggest the form of the body and could be used as clothing. She is exploring space and boundaries, creating atmospheric works that tug our emotions.
See http://onviewonline.craftscouncil.org.uk/4040/object/T137
http://www.arts.ac.uk/csm/people/teaching-staff/textiles-and-jewellery/caroline-broadhead/
http://www.themaking.org.uk/content/makers/2009/11/caroline_broadhead.html

Christine Mauersberger, in particular Timelines (2014). Sewn strips of Rubylith form a distorted surface. This is process-based work, developed from mark-making in her sketchbook. “The drawings and stitched work developed an interdependent relationship where one informed the other. This activity placed me on a trajectory of purposeful artwork.” “The way I connected to discovering my voice was to be vulnerable to taking a risk. ” (from http://www.worldofthreadsfestival.com/artist_interviews/128-christine-mauersberger-14.html (Accessed 5-Mar-2015)). Another great example of working process and approach, useful to consider for myself.

Artists on http://www.le-crimp.org/
– Vincent Floderer http://www.le-crimp.org/spip.php?page=visionneuse&id_article=2&id_document=212 and much more. Radial pleating/crumpling taken to an extreme. Great use of colour and lighting.
– Romain Chevrier http://www.le-crimp.org/spip.php?page=visionneuse&id_article=13&id_document=255 – some strange animal’s trail through the sand
– Alain Giacomini http://www.le-crimp.org/spip.php?page=visionneuse&id_article=25&id_document=382 Swooping bird-like forms or graceful flying fish. Again the drama of lighting.

Jade Pegler http://folio.jadepegler.com/projects/books-and-sculptures/ A wide variety of paper work, including examples incorporating pleating.

20150101aMy Indigo Sketchbook post (9-January-2015) includes work done before starting this course, but certainly under its influence and using one of the recommended texts – “Folding Architecture: Spatial, Structural and Organizational Diagrams” by Sophia Vyzoviti.

20150101eI was particularly interested in the memory of folds, the traces left behind. It’s a bit like stains on worn clothing, or tracks on sand that get swallowed up in the next tide – a memory, a ghost. Perhaps nostalgia for a lost opportunity. It seems there can be so much more emotion in fragile reminders – linking back to Caroline Broadhead’s work.

A little bit of pleating work I wanted to take further:
Claire (https://tactualtextiles.wordpress.com/) lent me a pleating device.
pleat_01
I decided to play using layers of tissue paper.
Sample p1-19. Pleats are formed by pressing material into a grove with a plastic card. Two cards leapfrog each other, forming a pleat then holding it in place while the next pleat is formed. I found the light tissue pleats kept popping out. Luckily my party picks are just the right size to hold things in place.
pleat_02
… which inevitably led to the problem of fixing and removing the pleats.
pleat_03
I used a sticky paper tape
pleat_04
Sample p1-19a. Soft folds formed.
pleat_05
Sample p1-19b. which I creased in a pattern.
pleat_06
Sample p1-20. Wanted to use the fixing tape as an advantage. Chose two colours of tissue paper, hoping for interaction.
pleat_07
The first layer of tissue. I like the pattern of the sticks holding the pleats, plus the totally accidental match of tissue length to pleater.
pleat_08
Double-sided sticky tape down the centre, and I pressed the pleats in place.
pleat_09
Sample p1-20a. Then purple, fixed using the other side of the tape. I flattened the purple – should try leaving it rounded another day.
It’s like inside-out corrugated cardboard.
pleat_10
Finally, I played with different arrangements.

Sample p1-20b.

Sample p1-20b.


Sample p1-20c.

Sample p1-20c.


Sample p1-20d.

Sample p1-20d.


Sample p1-20e.

Sample p1-20e.


Sample p1-20f.

Sample p1-20f.


Sample p1-20g.

Sample p1-20g.


Sample p1-20h.

Sample p1-20h.


There could be lots of ways to explore this further – different colours, different pleat spacing (you don’t have to use every slot) or even on flat paper, more layers of pleating, longer lengths…
Note also possibilities of popcorn fabric.
Finally my recent natural dye day (hosted and masterminded by Claire) involved lots of accordion pleating – see 4-April-2015 for more. This leads back to the idea of traces and shadows left, rather than the original.
Clamped

Clamped


Result

Result

T1-MMT-P1-p1 Folding and crumpling roundup
Textiles 1 – Mixed Media for Textiles
Part 1: Surface Distortion
Project 1: Folding and crumpling

7 Responses to “T1-MMT-P1-p1 Folding and crumpling roundup”


  1. 1 Claire B April 5, 2015 at 2:46 pm

    I love what you’ve done with the mini pleater and tissue paper. Lovely patterns and colours

  2. 3 epocktextiles (Jane B) April 10, 2015 at 4:05 pm

    some nice manipulation here. I just came across this artist who may interest you – http://jodeeley.com/home/

  3. 5 Claire B April 11, 2015 at 4:30 pm

    That Jo Deeley link is superb, Jane. Now I want to see the works in real life not just the photos.


  1. 1 T1-MMT-P1 Sorting | Fibres of Being Trackback on May 23, 2015 at 7:47 pm
  2. 2 Dimensional / depth weaving | Fibres of Being Trackback on June 26, 2016 at 3:52 pm

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