Archive for the 'MMT5 – Sketchbook' Category

T1-MMT-P5 Sketchbook completed

All the sketching work of Part 5 is now bound into a book ready to send for assessment. Before showing that I want to show the final few pages, not previously posted.

p5-sketchpage 077; 20160320

p5-sketchpage 077; 20160320

At the top, manipulation of a photo inspired by Dryden Goodwin’s mould prints (http://www.drydengoodwin.com/mould_prints_2011.htm and http://www.drydengoodwin.com/Mould_2011.htm). At first look these seemed like plaster or perhaps clay masks, but they are actually photographs that have been pierced and torn and moulded to become three dimensional.

I wondered if this could be another way of presenting my photographs of objects – so many links to exercises in the course! The result wasn’t encouraging. I was working at small size and the vessels aren’t a common shape so there is no assist from the human visual system. The final straw was that my photo paper has the manufacturer’s name on the back – very distracting.

Below that is a printout of shape play. I’ve spent some time playing with photos to create simplified shapes, thinking of using them to experiment with compositions, or perhaps as stencils.

p5-sketchpage 078; 20160326

p5-sketchpage 078; 20160326

Random jottings, including trying to get my head around time zone differences with various changes to and from summer time.

p5-sketchpage 079 20160326

p5-sketchpage 079 20160326

This shows a photo printed on watercolour paper and put into the sketchbook.

photo on sketchpage 079; 20160326

photo on sketchpage 079; 20160326

Above is the actual photo, using my simplified shapes and putting them into a space – Flinders Island. It’s very flat, the shapes sitting on top, as if a sheet of glass separates them from the environment.

p5-sketchpage 080; 20160406

p5-sketchpage 080; 20160406

In another attempt I used actual photos of the vessels, most of them with opacity reduced trying to get them to fit in better. Not worth pursuing.

p5-sketchpage 081; 20160401

p5-sketchpage 081; 20160401

I was taken by Briony Fer’s comments about Hans Arps use of line, so experimented making forms buckle with different scales of line.

p5-sketchpage 082; 20160330

p5-sketchpage 082; 20160330

I was dissatisfied with the photographs I took of my vessels wrapped in brown paper (18-Mar-2016). One of many problems was the flat lighting, so I tried drawing on a printout of a photo to see if some highlights and shadows would improve matters. A great improvement, as is simplifying the floor and wall patterning. Definite lessons there.

The plan was always to bind my Part 5 sketch work into a book. I’ve tried to bring together a few ideas from the course.

Sketchbook front

Sketchbook front

The front and back covers were first covered in crumpled brown paper – echoes of Part 1, and also of various wrapping exercises.

Shapes on the front and back are based on samples in Part 5. I haven’t used paints or collage very much, and was intrigued by Briony Fer’s discussion of Jackson Pollock, in particular Cut Out and Shadows: Number 2. Contradictory patterns of drips of the paint surface and cut-out shapes lead to all sorts of considerations about representation, figuration, abstraction, the nature of painting…

Out of that complex academic treatment I extracted simple ideas of dribbling paint and collage.

Sketchbook binding

Sketchbook binding

For the binding I used a packed cords technique from Exposed Spine Sewings by Keith Smith. I like the use of wrapping, travelling up the cords on the spine, and designed the spiky black attachment to echo the zigzag stitching on sample p5-4.

Sketchbook front and back

Sketchbook front and back

One of the useful features of p5-4 is the plumes of black, which arch over space and link areas in my compositions. Here they arch across front and back of the book, sheltering sample p5-8.

I think the end result is attractive, appropriate, not particularly robust but sufficient for the journey ahead.

References
Fer, B. (1997) On abstract art New Haven and London: Yale University Press
Smith, K (1995) Exposed Spine Sewings: Non-adhesive binding volume III Rochester NY: Keith Smith Books.

T1-MMT-P5 Sketchbook completed
Textiles 1 – Mixed Media for Textiles
Part 5: A final piece
Sketchbook completed

T1-MMT-P5 Sketchbook update 20-Mar-2016

It’s been a while since the last sketchbook update (27-Feb-2016), although quite a few part pages have been shown with associated sampling/recording work.

p5-sketchpage 061 20160227

p5-sketchpage 061; 20160227


The above page based on work by Eva Hesse appeared at the beginning of stage 6, when I reflected on the power of working with repetitive forms (6-Mar-2016).

p5-sketchpage 062 20160228

p5-sketchpage 062; 20160228

In the same post I showed this work planning some early composition ideas.

p5-sketchpage 063 20160228

p5-sketchpage 063; 20160228

Also in that post was the 3D pen sketch and the simulation of repeated forms. Not previously shown were some tablet-based sketches, done sitting beside a garden waiting for car repair.

p5-sketchpage 064 20160304

p5-sketchpage 064; 20160304

This and the next three pages were recording and thinking of potential developments to my collection photographs, and were shown when recording the original photos (6-Mar-2016).

p5-sketchpage 065 20160304

p5-sketchpage 065; 20160304

p5-sketchpage 066 20160305

p5-sketchpage 066; 20160305

p5-sketchpage 067 20160305

p5-sketchpage 067; 20160305

p5-sketchpage 068 20160306

p5-sketchpage 068; 20160306

I realised that a lot of my attention was being given to the slabs used to provide height and thus precarious situations. Looking for possibilities led to Ursula von Rydingsvard’s work (http://www.ursulavonrydingsvard.net/). Above is a very inaccurate sketch based on a detail of Can’t Eat Black (link).

This helped me to identify my desire for layering with more depth and texture, a need met with broken tiles in concrete (12-Mar-2016).

p5-sketchpage 069; 20160309

p5-sketchpage 069; 20160309

A page throwing around ideas.

Photographing pieces in moving water wasn’t attempted – the setup seemed too difficult and I was concerned about the risk to my equipment. However there was a brief experiment with black and white photography (12-Mar-2016) and considerably more with wrapping (18-Mar-2016).

p5-sketchpage 070; 20160310

p5-sketchpage 070; 20160310

Sketches of p5-39 and p5-42 (12-Mar-2016) helped identify and extract some elements that pleased me.

p5-sketchpage 071; 20160311

p5-sketchpage 071; 20160311

This and the next page were drawn after writing up the second photo shoot (12-Mar-2016) in preparation for the third (written up 15-Mar-2016). I actually took the pages out to the garage with me and referred to them as I was working.

p5-sketchpage 072; 20160312

p5-sketchpage 072; 20160312

p5-sketchpage 073; 20160313

p5-sketchpage 073; 20160313

I mentioned ongoing research of Eva Hesse 6-Mar-2016. A couple of scattered quotes are in the sketchbook as reading continues. This passage linked to my black and white photographs, wondering if the elements of strong colour in my collection were unbalancing or dominating it.

The lower part was working on a photograph – p5-52 – as a way of thinking about what was working and what could be developed. That helped me work on plain paper, trying to extract what I was seeing. A bit more movement, some diagonals, in the main elements could ramp up this image.

p5-sketchpage 074; 20160314

p5-sketchpage 074; 20160314

A step back, looking at the collection as a whole. This is based on a still from the video. In black conte crayon (see note on colour above), I enjoyed exploring the different shapes together.

p5-sketchpage 075; 20160316

p5-sketchpage 075; 20160316

At the top is a collage planning the wrapping of my collection (see 18-Mar-2015), at the bottom one of the wrapped samples drawn in colour pencil.

In the middle is another quote about Hesse, this time about her “thinking about what an object might be”. That question is really engaging me at the moment.

p5-sketchpage 076; 20160319

p5-sketchpage 076; 20160319

Playing around with biro and coloured pencil.

First I drew lines based on the threads wrapping some of the samples. Then I started colouring, with a vague recollection that only three colours are needed to colour a map with no colour the same on both sides of a border. I thought this simplification of the line drawing might reveal an unexpected pattern. It does create some order in what was a chaotic set of lines. This seems quite a good method for beginning an abstract design development, not unlike the design development for printing that I did with Claire Brach (31-Dec-2015).

T1-MMT-P5 Sketchbook update 20-Mar-2016
Textiles 1 – Mixed Media for Textiles
Part 5: A final piece
Sketchbook update 20-Mar-2016

T1-MMT-P5 Sketchbook update 27-Feb-2016

p5-sketchpage 049; 20160214

p5-sketchpage 049; 20160214

Sketch 20150601b

Sketch 20150601b

I was very pleased to get some corrugations in my samples – corrugated cardboard has been a recurring material during this course (for example 6-Jun-2015). I started thinking about how to link in crumpled paper. Sample p5-3 (31-Jan-2016) used the technique and was an interesting result, but the green didn’t seem to fit as part of the collection. I now have some other samples that may forge a link, with the advantage of being a little less obvious.
p5-sketchpage 050; 20160216

p5-sketchpage 050; 20160216

This biro drawing was inspired by a sketch by Gillian Lowndes. Some good energy and pattern, but the vessel itself (sample p5-10) got lost.
p5-sketchpage 051; 20160217

p5-sketchpage 051; 20160217

Collage! Not a technique I am comfortable with, and this was a warmup prior to the Ruth Hadlow workshop where I expected to do lots. That didn’t happen (I sense an inner sigh of relief), but it helped me approach sample p5-8 in a different way.
p5-sketchpage 052; 20160219

p5-sketchpage 052; 20160219

Thinking about aspects of displaying the samples, I tried to trace shadows of p5-5. Not easy as I’d set it up, as I kept bumping the sample and changing the shadows. Still, it’s an example of my ongoing efforts to move forms around the page rather than defaulting to a centered full view (as suggested in my last tutor feedback).
p5-sketchpage 053; 20160219

p5-sketchpage 053; 20160219

I wanted to use acrylic paints – not a medium I’ve experimented with much. This involved combining the major colours of my collection, black and orange, and printing onto the page using various scrap materials on the worktable as stamps. There are some interesting marks, and I think the composition that developed is effective – a fair amount of movement but overall balanced. In my eyes it resembles a potential sample sitting on a tabletop.

p5-sketchpage 054; 20160222

p5-sketchpage 054; 20160222

This grouping of samples p5-5, p5-10 and p3-35 was created using a variant of the sketching brief developed in Ruth Hadlow’s workshop (25-Feb-2016). It used charcoal and orange conte crayon. I varied the time constraint, allowing as much time as I wanted on the final layer. There’s a lot of energy. I think the under-sketching is very effective in adding movement, interest and complexity. The haze of earlier orange helps to bring the sketch together. Taking extra time on the final layer allowed me to produce a more finished, coherent result. I tried to anchor the items more, with shadows and a suggestion of edges on a round table, which I see as improvements.
p5-sketchpage 055; 20160223

p5-sketchpage 055; 20160223

Although excited by the new drawing approach I thought it was important to keep moving between approaches, so attempted this observational sketch in coloured pencil of samples p5-11, p5-12 and p5-13. Dull.

p5-sketchpage 056; 20160223

p5-sketchpage 056; 20160223

Unsatisfied by the previous sketch I did another of the same subjects using charcoal and the three layer approach. I think this version is more successful at showing the links between the objects, suggesting the lines of corrugation and the tensed distortion of organza and 3D plastic drawing.

I’d like to explore more with the 3D pen. I’ve noted the wire which animates Gillian Lowndes’ work. Perhaps 3D drawing could serve a similar function while also continuing my existing lines of enquiry during the course.

p5-sketchpage 057; 20160224

p5-sketchpage 057; 20160224

Samples p5-10 and p3-35 were the subject of this blind, continuous line drawing, done with a three minute time limit. I was surprised by the result, I expected much more – then realised the biro had run out during the time. An unanticipated drawback of blind drawing!
p5-sketchpage 058; 20160224

p5-sketchpage 058; 20160224

Another version of the previous page – with a new biro. The nature of the lines is different – not so much from examining the visual result of the first attempt, but more that some of the movements hadn’t felt right, had got me into trouble as if I knew my hand wasn’t doing the right thing even as I was working. A strange feedback. Could one exploit this, deliberately doing something that “feels” wrong, that isn’t a match for the object you’re drawing? Big bold lines to describe a delicate tracery. What would be the point?
p5-sketchpage 059; 20160225

p5-sketchpage 059; 20160225

Another sketch of another piece by Gillian Lowndes. I was using a charcoal pencil, giving a much sharper line. I think this catches the different materials – the spiky wire wrapping, the hard lines of a pot shard, the softer droop of the bag formed from fibreglass dipped in slip. I like the quality of line the pencil gave, strong and bold but not solid.
p5-sketchpage 060; 20160226

p5-sketchpage 060; 20160226

Drawn after visiting El Anatsui: Five decades at the Carriageworks. At the top is a response to Awakened, done in various colours of pen on the inside of an envelope (trying to vary my surfaces beyond the default white cartridge). I don’t find this result interesting, and I found it slightly painful to produce – those tight repetitive movements. Below is a piece of heavy drawing paper, on which I drew in 4H pencil then charcoal. I was trying to reproduce an effect seen in a sketch by El Anatsui, but this wasn’t the right method.

T1-MMT-P5 Sketchbook update 27-Feb-2016
Textiles 1 – Mixed Media for Textiles
Part 5: A final piece
Sketchbook update 27-Feb-2016

T1-MMT-P5 Sketchbook update 15-Feb-2016

I’ve noticed this form of sketchbook work and recording is working for me. I’m doing at least a little every day, a mix of research and recording and ideas development. At first blogging the pages seemed like double-work, but instead it’s become a form of reflection and review, looking back over the week’s output.

p5-sketchpage 045; 20160208

p5-sketchpage 045; 20160208

Looking at p5-5 (31-Jan-2016), over two days I did a series of manipulations of photographs in gimp, then a collage – adventurous for me as I always get into a sticky mess. I like the swirly energy of this sample. It also looks good in combination with almost all my other samples, so a strong candidate for the collection.

p5-sketchpage 046; 20160210

p5-sketchpage 046; 20160210

Another sketch of work by Gillian Lowndes. I now have the monograph by Amanda Fielding and am enjoying both the reading and the excellent photos. It’s really progressing my thinking about what and why I make. I can’t find an online picture of this piece, but the colours I’ve used reflect my response, not the original.

p5-sketchpage 047; 20160211

p5-sketchpage 047; 20160211

This goes back to some ideas about columns and corrugated cardboard on sketchbook page 24, 15-Jan-2016 posted 18-Jan-2016. A couple of samples based on it are in progress.

p5-sketchpage 048; 20160212

p5-sketchpage 048; 20160212

A couple of line drawings of samples in different felt tip pens. In Fielding’s book on Gillian Lowndes there is a quote about her use of wire animating a sculpture. Just the word I need to describe the thread in p5-8 and the tangle of melted plastic horsehair in p5-10 (both 14-Feb-2016). In terms of a collection, I’m not sure these two meld – except both have movement and a sort of independence, not bending to societal norms. More arrangements and photographs will come in a later Stage, but just now I’ve picked them up, shifted things around and to my surprise the detailed textured surfaces bring them together.

The next page is only half done, and that shows a yet-to-be-revealed sample, so will wait for the next update.

T1-MMT-P5 Sketchbook update 15-Feb-2016
Textiles 1 – Mixed Media for Textiles
Part 5: A final piece
Sketchbook update 15-Feb-2016

T1-MMT-P5 Sketchbook update 8-Feb-2016

p5-sketchpage 038; 20160201

p5-sketchpage 038; 20160201

A thumbnail of this page has been seen before, when experimenting with video presentation 5-Feb-2016. This is a very free blind drawing of sample p5-4, trying not to lift the biro. My “plume” is too stumpy, but otherwise I like the liveliness of line which catches the energy and movement of the sample.

p5-sketchpage 039; 20160201

p5-sketchpage 039; 20160201

This version I looked at the page while working, and it is much less convincing. It was while looking at this that I decided a video could be a better way of recording what I was seeing. My first video, done the same day, was very clunky and is no more.

p5-sketchpage 040; 20160202

p5-sketchpage 040; 20160202

In the middle of a work day I was taken with an idea for samples using the same knitted fabric as p3-47. There’s resin, plaster, inside, outside… The resulting samples are hardening in the garage, so more information on a later day.

This page also has an idea for binding the physical sketchbook, using the caterpillar stitching that started joins in Part 2. Very keen to do this when the time comes.

p5-sketchpage 041; 20160202

p5-sketchpage 041; 20160202

Some planning for improvements for video production, then another sketch of work by Gillian Lowndes. A monograph on Lowndes is making its way from Ruthin Craft Centre, and at some point a Research post will appear. The spaces between the pipes in this work are wonderful. See //collections.vam.ac.uk/item/O19516/three-standing-pipes-forms-lowndes-gillian/

p5-sketchpage 042; 20160204

p5-sketchpage 042; 20160204

O dear. This is coloured pencil, trying to do simple lines looking at the detail of sample p5-4. Faint, bland, just a little informative.

p5-sketchpage 043; 20160205

p5-sketchpage 043; 20160205

More ideas for samples keep springing up. Coiled baskets (this was while preparing my Research post on other OCA students, 7-Feb-2016 and looking at Anne Dyke’s work). Plastic horsehair could be used in the coiling, crystal organza for the stitching and final rounds of coiling. What would happen when heat was applied to the organza???

The lower sketch shows a way of recording an internal space other than casting (as in assignment 3). Fill a flexible shape with sand and wrap to create an interesting form. Build a coiled vessel around it (probably easier written than done), then empty out the sand and original flexible vessel. I’ve been a bit concerned about moving too far away from the original assignment exercises, and this could be a way of linking back.

p5-sketchpage 043b; 20160206

p5-sketchpage 043b; 20160206

This sketch started from a comment by Nina (5-Feb-2016), suggesting I work a bit bolder, with some colour, and that white paper can get a bit lost on the white blog background. Doing this sketch really helped me to focus in on the distortions and movement of the organza, and the extra colour strength of the oil pastels is effective. Repeatedly I leave insufficient space to show the plastic horsehair properly. Good ideas from Nina – I definitely should move away from white paper more often.

p5-sketchpage 044; 20160207

p5-sketchpage 044; 20160207

This is looking at work by Katie Taylor, discussed in my Research post 7-Feb-2016. That connecting line is very effective.

T1-MMT-P5 Sketchbook update 8-Feb-2016
Textiles 1 – Mixed Media for Textiles
Part 5: A final piece
Sketchbook update 8-Feb-2016

T1-MMT-P5 Sketchbook update 31-Jan-2016

Sketchbook work is continuing, at least a little each day. As the assignment progresses it’s becoming a satisfying mix of research, ideas, and at last recording my own samples.

p5-sketchpage 034; 20160125

p5-sketchpage 034; 20160125

Some final notes on ideas from previous assignments. The sketch of work of June Schwarcz influenced the design of sample p5-4 (31-Jan-2016) – inept, but with promise. I’d like to follow up this research.

p5-sketchpage 035; 20160127

p5-sketchpage 035; 20160127

I’ve already written about Fiona Hall’s work Slash and Burn (30-Jan-2016). Moving and shocking. Also a great example of contemporary textile work (although Hall uses a very wide range of techniques, materials and influences in her work).

p5-sketchpage 036; 20160128

p5-sketchpage 036; 20160128

I am very excited about Gillian Lowndes’ work and have been trying to track down more images and information. Beautiful and inspiring. On this page I did a line drawing sketch, influenced by my tutor’s suggestion to explore my prints using line drawings. There are also some notes from the videos on the V&A website showing artists commenting on Lowndes’ Cup on base piece. A proper research post will follow.

p5-sketchpage 036 a; 20160129

p5-sketchpage 036 a; 20160129

Using a process taught by Graham Marchant (24-Jan-2016) I traced a photograph of Gillian Lowndes’ Cup on base in preparation for a watercolour. I found it very useful in Graham’s class to work with a single inspiration source for an extended time, really getting to know it and seeing more and more.

p5-sketchpage 036 b; 20160129

p5-sketchpage 036 b; 20160129

I spent a couple of days on the actual watercolour. I got mixed up in the layers of clay, my lights and darks muddled so the effect is lost. On the other hand there are some parts that work – for example the corner of the top layer.

p5-sketchpage 037; 20160129

p5-sketchpage 037; 20160129

A little more on Gillian Lowndes. Some desperate calculations when working on p5-5, and a sketch of the sample itself, trying to capture the frenzy.

T1-MMT-P5 Sketchbook update 31-Jan-2016
Textiles 1 – Mixed Media for Textiles
Part 5: A final piece
Sketchbook update 31-Jan-2016

T1-MMT-P5-s1 Review – Part 3

An update on progress with very brief notes to avoid too much duplication. Most of this work was done while in Bathurst, before or after concentrated days in the class studio. A mix of the next stage, Research, is included.

p5-sketchpage 026 20160116

p5-sketchpage 026; 20160116

Ideas of dribbling resin, playing with scale, the nature of a “collection” (not all prima donnas), fragility, joining, display (interest from every angle).

p5-sketchpage 027 20160117

p5-sketchpage 027; 20160117

How to display change over time; dynamic collection; hidden, revealed; contrasts; in assignment 3 sorting saw greatest potential in materials and combinations; want to sample with a list of questions, not fixed ends or answers; how to link items; vessels and space.

p5-sketchpage 028 20160118

p5-sketchpage 028; 20160118

Embedded materials; using dremel tool (from Graham Marchant class); lighting; colouring resin; themes of loss, change, the edge of violence and trauma, or resilience; make every sample count; plaster on crumpled paper; resin to embed fragments of plaster.

p5-sketchpage 029 20160119

p5-sketchpage 029; 20160119

Resin (or other materials) as mortar; 3 simple ideas can be enough; an aside – listenning to TED talks on where ideas come from; using some prints as basis of vessels.

p5-sketchpage 030 20160121

p5-sketchpage 030; 20160121

Elizabeth Lundberg Morisette. Collection of vessels – the power of many with small differentiation, compared to a smaller group where each piece has an individual presence.

p5-sketchpage 031 20160121

p5-sketchpage 031; 20160121

More TED talks and research. Tina Vlassopules. Simple basic form repeated with variation. The photograph is beautiful, but I don’t think it would be as strong in a space.

p5-sketchpage 032 20160123

p5-sketchpage 032; 20160123

Adam Frezza and Terri Chiao. Another example of the differences between grouped and individual display. Very different results.

p5-sketchpage 033 20160124

p5-sketchpage 033; 20160124

Susan Amann. A beautiful join in raku vessel using basket weave. Perhaps something like that could be my linking element.

Finally finished working through past posts for the Review. Assignment 4 was less rich in ideas, but will be important when sampling and recording. Themes of boundaries, open possibilities, uncertainty, layers of time. Contrasts of texture. My strong interest in a collection of cast plaster, recast in print. Marks in the surface. Joins.

Now I need to pull together ideas from the Review to take forward. I started the process with the idea of a collection of vessels, and despite other possibilities that remains my preferred option – although “vessel” has blurred with “object”. However I have developed a lot of questions/options around the kind of collection, the kind(s) of vessel, and the means of display.

T1-MMT-P5-s1 Review – Part 3
Textiles 1 – Mixed Media for Textiles
Part 5: A final piece
Stage 1: Review
Part 3

T1-MMT-P5-s1 Review – part 2

Over the past week I have continued to work through my past blog posts, noting down ideas and generating still more. I am amazed at the amount I have done and the volume of possibilities available to explore further. Even with my tentative restriction to “collection of vessels” there is so much. Some of it is repetitive, and many of my notes go beyond vessels. My main goals remain using materials already identified, combine ideas from multiple parts of the course, a collection where the whole is more than the sum of the parts, and to edit fiercely.
Theme – mold as a record of what was.
Spaces between
A captured moment
Fragility; barriers; memory; venees that crack and reveal; scarring; traces
Emotion of folds in material

Materials: plaster, resin, plastic horsehair, chicken wire, glue as an inclusion; composimold – make use of flexibility

Shapes: glass brick; fluted wire armature; joins; manipulating interior space when casting; lettuce or cabbage leaves; balloon centre, pvc outer

Ideas and techniques: Indeterminate edges; stitch or other construction method in casting revealed/recorded in result; pvc pipe to form voids; play with gravity and tilt when casting

p5-sketchpage 016 20160110

p5-sketchpage 016; 20160110


Tea dance by Olive Cotton. Repeated shapes, but rotated and grouped to create co-ordinated movement. Importance of lighting.

p5-sketchpage 017 20160111

p5-sketchpage 017; 20160111


Continued playing with ideas of variations on a restricted theme. The thought started with glass brick windows. Using a regular shape rather than a vessel could simplify casting. Bricks of plaster and resin, using the dynamic plastic horsehair to create shapes within the bricks and protruding – a way to break up space with more interest, perhaps even join multiple shapes.

PVC is another possibility as a mold for casting, embossed to create texture. Chicken wire or similar, as seen in Rosemary Christmas’s work, could be used as armature which could be dribbled with plaster or resin. It could be used in combination with other techniques, but again I wonder about trying to do too much.

Re-reading my old posts, there are so many intriguing paths I didn’t explore.

In my discussion of Victoria Brown’s work I mentioned the spaces between. I want to make the spaces between just as important as the items themselves.

P5-sketchpage 018 20160116

P5-sketchpage 018; 20160116

P5-sketchpage 019 20160112

P5-sketchpage 019; 20160112

Various ideas for molds for a cast. Tilting a vessel while setting then putting a different layer on top could be a simple but effective combination. I’m noting artists to research in part 2.
P5-sketchpage 020 20160113

P5-sketchpage 020; 20160113

Joining composimold and polymorph using resin?? I suspect this is trying to do too much, but I enjoyed the group photographs I’ve done, so it’s worth considering.

Joining leads to the idea of unjoining. Could composimold be used as a mold for say plaster, then partly peeled off? Would that give interesting shapes, perhaps a way of showing boundaries or history? Tutor feedback on earlier work mentioned “a combination of materials can create tension and distortion”. There was weaving photographs, and also joining crepe paper and organza which was then heat distorted. I know there is more to explore here.

P5-sketchpage 021 20160114

P5-sketchpage 021; 20160114

More ideas for combining materials and creating molds. The lower sketch is based on work by Liz Williamson. I put a request on the OCA textiles forum asking for research suggestions, and some interesting leads have resulted.
P5-sketchpage 022 20160115

P5-sketchpage 022; 20160115

This page was an early attempt to summarise some of my strongest ideas and to start planning a set of work for the sampling part of this assignment. I’ll come back to this in the review wrapup.
P5-sketchpage 023 20160114

P5-sketchpage 023; 20160114

I’ve been away from home a few days, and the top sketch was made looking at a plum tree on a property in the Megalong Valley where we spent last weekend. A group of 18, four generations of one family, had our annual weekend away together. I could attempt a link between containers and family units and houses full of adults and children, but really I was simply looking for a quiet moment.

The word “tension” came up again, this time in reference to the work of Henry Moore. More research to be done.

P5-sketchpage 024 20160115

P5-sketchpage 024; 20160115

Themes of scarred shadow, an imperfect memory arise. I’ve noted lots of samples with elements that attract me, then came to one of my current favourite ideas – hollow columns, corrugated surface in a range of materials and dimensions.
P5-sketchpage 025 20160115

P5-sketchpage 025; 20160115

One interesting thread I’ve been following in this process is the development of the dribbling resin idea, tracing its beginning in a failed sample, then leading to some interesting work and ideas. I think this should be a strong contender for use in the final pieces, allowing me to show all the stages.

I haven’t put my normal links and photos in this post – too difficult on my travelling setup. It made need an edit when I’m back home next week, or perhaps it will be my classic “could be good, but need to move on”.

T1-MMT-P5-s1 Review – part 2

Part 5: A final piece

Stage 1: Review

Part 2

T1-MMT-P5-s1 Review – A beginning

Part 5 of the course brings together everything learnt so far, consolidating the good work processes developed. The nature of the final outcome is left open – single or multiple pieces, combining methods and materials, remaining experimental. I’m asked to start by going back to the beginning, reviewing samples and learning blog, looking for materials, techniques and ideas to explore further.

A collection of vessels

That’s my first choice in thinking / reviewing / researching. A Collection – composition of groups of items has been a recurring interest through the course. Vessels – a slight narrowing of focus from the universe of all objects. Vessels provide a boundary between inside and outside. It’s a starting point, open enough for all sorts of exploration.

www.pinterest.com/fibresofbeing/vessels/ is a new board with images from my research and also my own samples – after all they are are part of my research for this new collection.

At the end of assignment 4 I was very aware of going backwards in my sketchbook, so I’m starting with an experimental tweak to my work process. I’ve always used separate sheets stored in a “sketch box”. It gave flexibility of media plus the selection of a sample of work for mailing to tutor and assessors. Now I’m building a sketchbook as I go. Signatures are two sheets of A2 paper, folded to A3. I can sew and bind at the end – no blank pages to add weight and bulk, accommodating any extra or bulky materials at the same time. I’m hoping this will provide a framework for more consistent effort. I also want to experience leafing through a physical book, following progression, checking back on earlier ideas. How much effect will this have on my work?

This week I’ve focused on reviewing work from Parts 1 and 2 of the course, looking for material relevant to a collection of vessels, or to an alternate project idea. Annotated images of all sketchbook pages to date are included below. It’s a jumble of ideas rather than a flowing narrative – I see that as the point of this part of the process, generating lots of options. I’ve extracted a few specifics as an overview.

Properties to consider:
Scale
Shape
Decoration
Texture – reflections, surface, interior.
Inside / outside
Cast and recast (from print sample)
Variety / relationships. Use resin (or other), or shape or … as the link between elements?
Inclusions – plastic, plaster…
Materials whose properties combine/interact/change

Potential themes, alternatives (my current inclination is to follow the materials, but it’s too soon to be definitive):
Fragility ==> broken vessels; news(print) that is overtaken by events; trapped in amber
Traces, memories, shadows
Boundaries, order|chaos, transition
Recording disintegration
The space between (link to boundaries)
A captured moment (in amber/resin; or something broken…)
Escape
Empty vessels – a container for viewers’ thoughts or memories
A puzzle for the viewer. Get them to ask questions. Engage.
Use/suggest gravity. Impossible balance?

Materials and techniques:
Do I want a clear textile link?
Spikes and protrusions
Heat-treated fabric
Heat shrunk plastic
Bundles of hessian, maybe gathered with 3D pen. Stabilised with resin? Partially?
Polymorph – as vessel or as mold or inclusion.
Resin with all sorts of inclusions
Plaster
Composimold
How do my favourite new materials interact???

There are also ideas for presentation, research and sketchbook techniques. I will blog about specifics a work progresses.

p5-sketchpage 001 20160103

p5-sketchpage 001; 20160103

While the clay vessels of Brenna (http://www.designsponge.com/2012/07/diy-project-paper-clay-barnacles.html) are beautiful I am interested in the challenges of bringing more varied works together in an effective way.
p5-sketchpage 002 20160104

p5-sketchpage 002; 20160104

A page of possibilities for research and sketchbook work. More on the detail as ideas are progressed.
p5-sketchpage 003 20160104

p5-sketchpage 003; 20160104

A sketch based on Still life: apples and jar by Samuel Peploe (link). I like the repetition of shapes with the apples, combined with variety of shape and scale in other vessels. The combination of multiples with unique forms helps connect all the elements.
p5-sketchpage 004 20160104

p5-sketchpage 004; 20160104

p1-1f - accordion fold variation

p1-1f – accordion fold variation

An early pleat variation (21-3-2015) suggests a vessel form. Could this be captured using (dribbled?) resin? What if the paper had been printed before folding? The sketches above and on the next page were done at the time of the original exercise.
p5-sketchpage 005 20160104

p5-sketchpage 005; 20160104

Denise Lithgow felted vessel

Denise Lithgow
felted vessel

Steel wool or balsa wood (both using in folding) could be used as inclusions. What about projections? There’s a link to Denise Lithgow’s felted vessels (22-Feb-2014), but I want to stay with more experimental materials.
p5-sketchpage 006 20160105

p5-sketchpage 006; 20160105

Beginning to build up a library of shapes that I can use to experiment with compositions.
p5-sketchpage 007 20160106

p5-sketchpage 007; 20160106

Giorgio Morandi Still life

Giorgio Morandi
Still life

My rough sketches were scanned and adjusted in the computer. I then worked with layers in gimp to preview placements.
I was thinking about Morandi’s still-life paintings, the same shapes appearing again and again in different configurations, sometimes grouped very tightly. (A post about still-life including this example 31-Jan-2014.) That’s probably the origin of the orange used here as well.

I find this variant quite satisfying, with some interesting negative space beginning to develop. Overlap is limited – how much do I want a conversation between elements versus creating a new whole? It’s very flat, with no indication of a surface to sit on.

p5-sketchpage 008 20160107

p5-sketchpage 008; 20160107

Sample_p1-40 Bent

Sample_p1-40 Bent

Could bendy straws or wire enclosed in fused plastic be used to create vessels (11-Apr-2015)?
Sample p1-57 Detail

Sample p1-57 Detail

Sample p1-61 Shadows

Sample p1-61 Shadows

Plastic bits or other objects could be entrapped, perhaps giving opportunities to play with shadows and colour.
Sidetrack p1-13 Reverse

Sidetrack p1-13 Reverse

Polymorph could be coloured and molded into vessel shapes (21-Apr-2015). Could it be used to create molds or inserts for other materials (resin or plaster)?
p5-sketchpage 009 20160107

p5-sketchpage 009; 20160107

Another version of basic shapes, this time more decorative using various embossed and treated papers, all silvery. The background paper was chosen as providing a suggestion of a surface and some interesting colour and patterning in its own right.

Still a lot of focus on negative shapes. A much tighter grouping. There’s enough consistency and variation to provide interest and cohesion. The turquoise and silver is a classic colour combination that works well. I like this result.

p5-sketchpage 010 20160108

p5-sketchpage 010; 20160108

"Sketch" Photo 6

“Sketch” Photo 6

Photo 15

Photo 15

Sample p1-140 J

Sample p1-140 J

Polymorph, 3D pen and papier mâché ideas (16-May-2015). Marking and curling corrugated cardboard creates a good effect as the light hits the cylinder (21-May-2015). Could this be captured within a casting material?
Sample p2-28 Closed

Sample p2-28 Closed

Shadows and lighting are very important in my presentation. Sample p2-28 (27-Jun-2015) brought in light, ideas of transparency. Both materials were used later with resin. What could be done? I have thoughts of using carefully applied heat to shape a vessel, then trap/preserve/capture in resin. I note my ideas turn more and more to resin – I want to be careful not to make assumptions or close doors too soon.
p5-sketchpage 011 20160108

p5-sketchpage 011; 20160108

The sketch is based on an image of Gizella Warburton’s work (www.gizellakwarburton.co.uk/gallery-vessel-forms). A definite inclusion for the Research stage.
p5-sketchpage 012 20160109

p5-sketchpage 012; 20160109

A note from earlier research on Erin Manning, about folds and volume (29-Jun-2015). Something to consider in the vessels.

Sample p2-41 b

Sample p2-41 b

Sample p2-51

Sample p2-51

I am very interested in the shapes made with what I’ve been calling plastic horsehair (16-Jul-2015). Some very dynamic lines, claiming space. I like the idea of honesty in materials – showing them without artifice, but if possible at the same time getting people to see them differently. P2-51 has capture/escape, perhaps a frozen moment of energy. Insect mesh is another favourite material – definitely something to sample further. This was one of many posts where I wrote of showing a collection of objects.

Sample p2-57 detail

Sample p2-57 detail

The braid of p2-57 suggests a potential textile element. Make braid shaped over say balloon, pour on resin, remove balloon (may need a release agent). Could look great, but visually complex. Would need to think about how it works in a collection. Could the braid be embedded in plaster?
p5-sketchpage 013 20160109

p5-sketchpage 013; 20160109

Sample p2-70

Sample p2-70

Sample p2-72 bMany wrapped vessels 22-Jul-2015. The sequences leading to p2-70 and p2-72 are of particular interest. Lots of ideas of change, transition, deterioriation. Static objects telling of movement. The risk and thrill of destruction.
p5-sketchpage 014 20160109

p5-sketchpage 014; 20160109

Sample p2-73

Sample p2-73

Sample p2-74 Completed column

Sample p2-74 Completed column

More of the drama of horsehair in p2-73, claiming space in a different way to p2-74 (both 28-Jul-2015). It’s getting away from the idea of vessels, but that’s not set in stone (or resin ho ho) just yet. The importance of height and movement. If I use the horsehair can I leave some free, long enough to react to any air movement? (how do I get air movement?)
p5-sketchpage 015 20160109

p5-sketchpage 015; 20160109

I used photographs of three wrapped samples to create more digital vessel shapes. I couldn’t find a grouping presentation that pleased, so tried overlapping – first with colour, then monochrome. So much more can be seen when colour is simplified. I will need to be careful not to try to do too much in my collection. Leave ideas out.

T1-MMT-P5-s1 Review – A beginning
Part 5: A final piece
Stage 1: Review
A beginning


Instagram

No Instagram images were found.

Calendar of Posts

April 2021
M T W T F S S
 1234
567891011
12131415161718
19202122232425
2627282930  

Enter your email address to follow this blog and receive notifications of new posts by email.

Archives

Categories