Heck, I’m really quite chuffed with the structural pieces that I’ve made during this exercise, they twist, turn and can be moulded into individual shapes that can be photographed at various angles with different lighting.
Each resulting image, even though they are of the same object invoke their own individual feelings; some are gentle, with similar tones and few angles and others are more dramatic with stronger tones and contrasts. More interest can be evoked by lighting the subject so the texture and pattern is more visible and therefore becomes a stronger element than the tonal contrasts. If you like lines and corners the piece can be manipulated so the edges created by the slashing and sewing are highlighted and bought to the fore.
My second piece is still a paper sample but this time I experimented with a highly patterned origami paper. I’d like to say that I thought long and hard about my colour choice but that wouldn’t be true. I picked this because I liked it.
Surprisingly the origami paper didn’t adapt to my technique as easily as the handmade paper. It stitched beautifully but it was harder to assess (by touch) when it was ready to twist and mould. The paper felt happier and more comfortable when it was flat and only started to move once it had been scrunched up a little bit.
In the end I was still able to get some interesting shots of subject, the pattern made it harder to get the same contrasts in tone as before and I had to rely more on lighting and twisting so the front and reverse of the paper was visible to get an interesting composition.
The big sheet of paper (note the blue – that’s my colour palette now!) was also difficult to mould into interesting shapes once it was cut and sewn a number of times. It was fiddly to stitch because of its size when being fed through the sewing machine. I have to admit that I probably didn’t carry on cutting and sewing enough times but I had lost interest and wanted to move on.
Keeping with the blue and wanting to experiment with a softer more fluid material I repeated the cut and sew action on a jay cloth. I keep these around the place for moping up spills and it looks like they might be now saved from a life of servitude!
It was difficult to keep the join flat and I ended up with rather a nice ridge, I also had a happy accident when I put one of the pieces to sew the wrong way round and I lost the formal rectangular shape. I did play with that for a bit but I’m going to keep that idea tucked away for now or I’ll never finish this exercise.
Now the little ticket is my favourite, it was small so easy to cut and it fed through the sewing machine nicely resulting in a loose join that was easily manipulated. It didn’t take long before the whole surface of the ticket had been altered and affected by my action, I’d put my mark on it but it still kept it original identity; there’s still no mistaking that it’s a train ticket, which journey it was for is less obvious which reminds me of my husbands yearly expenses nightmare where he creates a landscape of little piles of tickets and receipts all laid out in painstaking sifted monthly records mapping his previous 12 month work routine ready for the accountant to assimilate into that years accounts for his company.
As it say’s on my sketchbook page this got me to thinking about all these tickets that I keep as trip souvenirs; would they make an interesting time focused design? Just perfect for the call for submissions for the next edition of Uppercase magazine – if I hadn’t missed the deadline, grrh!
The only good thing was this did make me think about using the passage of time as a theme, this is another idea that I e carefully tucked away for another time, but not before looking up Michele Fandel Bonner who was featured in the Uppercase newsletter and having just a little go at making my own passage of time based collage.
This final piece gives me the most pleasure, it always breaks my heart when I see embroideries and tapestries for sale in charity shops for pennies. We all know how much time and effort goes into the making and it seems so sad to see them undervalued in this way. I often buy the item and take it home, hoping that I can later repurpose it into my own work.
I’ve had this tapestry for a while, it made a small appearance when I was doing my City & Guilds course and as a bonus it’s blue, so I can keep to my colour palette.
It was still sad in a way cutting it up and resewing it back together, it felt quite brutal – especially when I broke a needle on the beads, it was almost like it was fighting back, struggling against the movement of time and it’s rebirth as a less twee and modernised version of itself.
That’s exercise 1 finished, it’s been quite a journey. I thought I would never find a way of making flush joins that would be interesting and inventive without having to result to power tools to cut holes in solid materials. I have an innate fear of drills and an even worse one of welding machines and grinders. Maybe that’s another idea I need to tuck away – face my power tool fear!