I initially challenged myself with colour, as I tend to only use neutrals. I extracted colours from flowers. I found it difficult because I struggle to identify tones, however, I improved as I vigorously explored painting out colours and various yarn testing.
I initially used embroidery techniques to interpret floral qualities. However, as my work progressed with crochet braids, I realised passementerie would be a more appropriate route. I decided to focus on weave, which provided a necessary structure in terms of time management and work format. This offered possibilities regarding combining crochet and embroidery.
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Inspirational photograph, drawing & weave plan
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My choice of yarn qualities and colours were successful, but I struggled because I felt pressure to capture the beauty of the flowers, as they are inherently beautiful, which was difficult to emulate. I was pleased with how flamboyant my pieces looked though.
I noticed an improvement in my embroidery skills during my work placement at a Bridal studio, where I learned processes and machinery required for constructing a child’s dress. This enhanced my confidence in terms of technique, however, the process was very demanding and time-consuming as it required precision. This placement also helped to develop my context: I originally wanted to create neck pieces, but their style resembled wedding garters. A successful part of this project was discovering where my interests lay.
I thoroughly explored my floral theme with my first project, live Bradford competition and my placement, so I wanted a dramatic change of direction. I aimed to explore a darker sense of beauty within my second project. This was influenced by my essay regarding Alexander McQueen, which helped me to gain a deeper insight into unconventional beauty. I found inspiration in the dark atmosphere of the Winter season, contrary to my previous summery themed work. I photographed the outside world on a dismal, ordinary bus journey home. This provided a brilliant contrast to my previous work, and allowed me to explore a completely new concept and allowed me to seek beauty with less limitations.
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| My final woven collection (project 2) |
I focused on texture and mark making, with bold glimmers of metallic colours, which contrasted against the dark background. I was able to interpret these elements into my weaves via foiling. I found this process less stressful, as I was highlighting beauty that I could find, making it more personal and obscure. I felt I could explore techniques more extravagantly, which allowed me to experiment vigorously, resulting in exquisite and refined work.
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| Submission board for Hand & Lock Competition |
I wanted to combine both floral and unconventional beauty to my Hand & Lock competition entry. The brief was about 'celebration' and 'play', so I considered my child’s dress, responding via a birthday celebration theme regarding 'child's play'. However, I was advised innovation was more appropriate than construct. Instead I focused on Vanitas, which holds a realistic view about life, beauty and death. I wanted to celebrate the life of the deceased. I think the concept behind this project is strong, however, I failed to provide myself enough time to develop my samples.
Overall, I have improved my techniques, finding a balance between weaving (which provides an essential structured format), and expressing my ideas with embroidery. I have also noticed an improvement in applying context to my work. Combining specialisms offers me the appropriate freedom required for me to be motivated and inspired.
