Unit X - Week 1

Continuing from my strengths of my practice unit, I am focusing on passementerie and unconventional beauty found within nature, and the strength in mass of the miniature. I created a narrow 1.5" black and white mercerised cotton warp. This allows me to avoid limitations of colour and focus on the edges of my weaves.

Warp plan based on my photograph of butterfly

My context is influenced by Samuel & Sons lavishly decorative trimmings. I aim to push the boundaries of a trim to jewellery or installation similar to Rebecca Louise Law. 

Rebecca Louise Law installation, Samuel & Sons trimming

I was inspired by John Piper's expressive drawing techniques, so I experimented with wax crayons and inks. The wax successfully captures the hard, shiny surfaces of crystallises, and the ink residue forms the interesting surface patterns. These drawings have inspired me to use unconventional yarns such as lurex and monofilament.

My photograph of crystallises & my drawings (wax & ink)

Practice Evaluation

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.

Inspirational photograph, drawing & weave plan

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.

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.

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.

Practice - Week 16

I revisited my Hand & Lock competition, focusing on hand embroidery techniques instead. I was inspired by previous winner Devi Vallabhaneni, who created a 3D beadwork installation. 

Devi Vallabhaneni

I created a fabric manipulated brooch, influenced by Vanities: incorporating floral inspiration in response to the 'celebrations' brief. My colours gradually fade from bright pinks and yellows to symbolise how life and death is celebrated. I incorporated beadwork and wire to strengthen my reasons for choosing the hand-embroidery category.

Board submission for Hand & Lock Competition

I think my concept was strong, however, I struggled to create a successful final piece because I did not leave myself enough time to develop my work. I was too ambitious with my time, and failed to organise this live project.

Practice - Week 15

The diverse weft qualities created varying structure and scale. My weave and foiling techniques created exquisite results regarding form and aesthetic.

My final weave collection (project 2)

I modelled my weave as a garment, creating a gothic essence.

Modelling weave as garment

I also accentuated my sample that resembled armour, by modelling it as an arm panel.

Modelling weaves as arm panels

Practice - Week 14

My weaving (monofilament, mohair, paper yarn)

I combined the 3D monofilament spiral technique with alternating yarns to develop my work further. I incorporated black mohair and white paper yarn, which created subtle texture, resulting in a refined sample that was successfully resolved.

My photograph, my drawing (foiling) & my weave (foiled)

I also wanted to refine my foiling technique further. I developed this by incorporating it in my drawing, then extending it to my woven samples. The textures I achieved with this technique reflected my photographs of lights appropriately.

My drawing (foiling) & weave (pixelated light photograph)

I extended my focus on pixelated lights, attempting to recreate the pixels with foiling. My explorative drawings allowed me to develop a successful composition. This also linked to my previous photography of pixelating the lights reflecting in my glittery weaves.

Practice - Week 13

I crocheted with unconventional yarns, combining monofilament with lurex, which created interesting braids and developed my crochet skills further. However, I didn't think it was appropriate to this project, so I focused my attention to only weaving.

My photograph & my expressive ink drawing

Instead of wasting my white warp, I wanted to utilise its maximum potential, so I focused on how to incorporate multiple colours into my weaving. I used monofilament as weft, allowing me to dye the cotton segments of the warp, without dying the floats. This kept the structure and resembled frosted glass: a successful link to my inspiration. I used an ink dispersing method to apply ink to my weave, similar to how I produced my expressive drawings.

My weaving (ink & foiling)

To further accentuate the frosted impression created by the layers of lights and condensation in my photographs, I decided to apply iridescent foiling to my weave. Due to the unpredictability of the ink and foiling process, it resulted in effective areas and areas that were unsuccessful. I also noticed improvement of my foiling technique since my first attempt. I aim to refine and develop this technique further with my other samples.

My drawing (pencil) and my weaving (mohair & glittery yarn)

I revisited my peacock image, because I wanted to explore its beautiful glimmers of colour and glittery texture. I used mohair and glittery yarn to capture the wispy essence of the lines. I obtained successful samples with my simplistic alternation of yarns. I became interested in how I could pixelate the way the light hit the glitter with my photography.

My cord weaving & abstract charcoal drawing

I also wanted to abstract and develop the simplistic lines of weave. I experimented with mohair, paper yarns and cord. I think the most successful result was obtained with cord, because it created a bold, structured sample, which resembled a piece of armour.

Practice - Week 12

I diverted away from the red, because it was incompatible with the white warp. I focused on the curves created by the peacock feather in my photograph instead, abstracting the form, resulting in successful minimalistic monotone drawings. The inverted effect created with the white ink on black paper is an interesting theme I would like to explore within my weaving.

My peacock photograph & my drawing

I translated my drawings into weave using black monofilament with the white warp, creating 3D spirals with huge potential. I would like to emulate this vice versa to recreate the same inverted effect that my drawings had.

My spiral monofilament weaving

My weaving related to work by Vicky Olivera, who also obtained inspiration from spiral forms. This inspired me to experiment with other media like wire and pins. However, the wire ruined the quality of my weave, as it was too thin and unrefined.

Vicky Olivera weave

During group discussion it was mentioned that my pieces resembled Elizabethan fashion collars, due to their flamboyant essence. This was a helpful suggestion for my context, and related well to my dark colour palette.

My drawing & woven experiment (pins)

I wove with monofilament and silver lurex to emulate the shimmery effect of the condensation on the bus windows. I experimented by incorporating pins in an attempt to push the boundaries of my weaving and create an uncomfortable reaction to my potential fashion accessory. This relates to the impracticality of the Elizabethan collars, however, the placement of the pins were a safety hazard, so I discontinued the idea.