Art · MMT - Ex 7 - Rotational Crumpling Technique · MMT - Part 1 - Surface Distortion · MMT - Pjt1 - Folding and Crumpling · Textiles 1 - Mixed Media for Textiles

MMT – Surface Distortion – Ex 7 – Rotational Crumpling Technique

This technique almost beat me and although I’m okay with the results, I’m not entirely sure that they met the brief. After 3 attempts I made a decision to not do any more searching for a better paper choice and to move on.

So what did I do.

First I tried the technique on brown paper but it was far too fibrous, far more than the brown paper used to wrap parcels. I just couldn’t get the folds to hold, crumples I had galore but the circles just wouldn’t appear. So, heck I added some pen to give the impression of rotation.


I chose some soft handmade paper but it was far to fabric like to make the folds hold. In the end I resorted to holding the centre into a circle with a loom band.

But most things can be rescued with a good iPhone filter.


I’d always wanted to use some Japanese calligraphy paper printed with grid lines on one of these exercises and because I’d gone in a different direct with the folding I decided to have a go at crumpling it.

This didn’t really work any better, the folds, textures and shadows are nice but my circle just forced itself back into a square.

Art · MMT - Ex 4 - Incremental & Twisted Pleats · MMT - Part 1 - Surface Distortion · MMT - Pjt1 - Folding and Crumpling · Textiles 1 - Mixed Media for Textiles

MMT – Surface Distortion – Ex 4 – Incremental & Twisted Pleats – Teeth

Teeth! This image was just too good to not fold, just what could I do with this! 

I made lots of folds and once the folds were rough and thin I sprayed the back of the image with some blue acrylic paint so it soaked through the folds to the front.


I then has some fun twisting and turning the image. Making the teeth move as if the mouth was opening and closing.


And then getting up close so the gums were closer and looking swollen and slightly slimy. 


Then far away so the fingers look huge and almost in your face whilst the teeth are receding into the background. Are the racks of teeth plastic or real?


I wanted to manipulate the image more, making it more abstract whilst still keeping some hint of the teeth.


Finally at this stage I just made them look creepy, with just a touch of alien about them.


After I’d taken the photographs of the folded paper, using different angles and lighting to alter the image further on from the folding I used some iPhone editing apps to throw some different colour and texture into the mixture.

One of my MMT challenges is to learn how to better explain my reasons for liking and disliking an image. This is what I wrote in my sketchbook about folded photograph of false teeth.

“What appeals to me?

“The macabreness and strangeness of the teeth, it’s a normalising and mechanising of the essential naturalness of teeth. To take something that is so unique (dental records are after all used as a maker for identification) and to record and categorise so many of the individual pieces is such a human process. The simple hospital blue colour palette allows the pinkness of the gums to stand out and highlight the teeth”

Staying with the creepy feel I applied an invert filter to give the effect of an x-ray, the cooling of the colours actually made the teeth less unpleasant to look at.


Using green as the dominant colour then warmed the image and made it easier to identify the lines that make up the image. Highlighting these lines creates a grid of interesting shapes .


This final image is my favourite, I like the composition: the way the thumb nail acts as a focal point drawing the eye and then allowing it to run down the 2 sides of the images and finally ending with the teeth. The use of the painting effect filter defined the fold lines, segmenting the image adding fractures that gives energy.


I hope my teeth (their not mine I promise) haven’t grossed you out and the few puns dotted about have not had you rolling your eyes too much!

Art · MMT - Ex 4 - Incremental & Twisted Pleats · MMT - Part 1 - Surface Distortion · MMT - Pjt1 - Folding and Crumpling · Textiles 1 - Mixed Media for Textiles

MMT – Surface Distortion – Ex 4 – Incremental & Twisted Pleats – Japanese Ladies

Before I began folding some larger samples I decided to fold a few small papers to discuss and explore in my sketchbook. I had some old pages from an exercise I had completed using cut silhouettes. I couldn’t help making my mark on the sample so added some dark lines to define the folds.


As I’m doing this course I am trying (mostly in vain) to do more drawings so I drew the top sample with some success. I’m still find it hard to draw an accurate depiction and not start doing more meandering doodle lines.


 Looking at the drawing I was satisfied that simple folds in an interesting paper gave me far more areas of interest and inspiration than using either a flat picture or a folded piece of plain paper (though I could see the value of doing this and using strong lights and shadows to create shapes and motifs) so I moved onto making a larger sample using a page I had altered, by painting with gesso and acrylic inks to make the first pleated sample.

I made the pleats and sat back and looked at it, to me it looked too flat so I did some rubbing down and added some spray acrylic.


Then I just couldn’t leave it alone and ended up with a heavily browned mess, I tried making more interesting folds but I’m still not pleased with. I felt down looking at it. 


I returned to the altered book to find another page but I wasn’t inspired by anything, humph! I looked for a while at the other photographs taken to record and advertise the people and places in Kyoto in Japan. After visiting Japan as a child I’ve always had an interest in their art and culture. A beautifully coloured photograph of ladies dancing in a line horizontally across a stage caught my eye and I wondered if I could make vertical folds to highlight the 3 ladies, drawing attention and focus where I wanted it.


This immediately grasped my interested and gave me that little glow of potential that I’m becoming quite addicted to.  

I wrote down my thoughts and attempted to capture my feelings as they floated around.

” the folds give pleasing shadows and reflections. It would be interesting to link the folding, highlighting action with the image. Could this this to how humans like to display only part of themselves. How we all keep some parts of ourselves hidden. And how this changes depending on the situation we find ourselves in. 

” Shown – hidden – shown – hidden.

” then some elements (the edges) that can be seen from one side and not the other. Only visible when you look at the folds from a different angle” 

In the book I found a full head photograph of a Japanese lady in full traditional dress titled,  Flower-serving ceremony dedicated to Yoshino-Tabu, a famous, Edo Period courtesan.  Courtesan? Geisha? It felt appropriate to use an image of something that for years has been shrouded in mystery, that is all about presenting an image, living a role that is all consuming.

Before I folded I noted in my sketchbook –

“I’m going to try to fold it to give a sense of mystery and duplicity to the scene. Do I hide the eyes? Is that the key? Hide/disguise some of the symbolism on the outfit? Does this take the folds from mechanisms of attraction to transporters of message?”


As I made the folds and continued to manipulate the piece trying to hide elements  I became fascinated will how the expression of the lady altered, how I could totally change her face so the balances moved and attractiveness became kooky, became less attractive, smaller, larger, more open, slightly angry and on and on.



I could see a series of these using different faces, it would be a good vehicle to translate a specific theme, like exploring anger or shyness.  On Pinterest I found the work of Aldo Tolino, he has done some amazing folded portraits. He is the master of abstract paper folding and well worth viewing. 


I did a little more folding of some photocopies of the montage of different folds and decided to part the portraits idea, especially after seeing Aldo’s work and move on to something else.

Art · MMT - Part 1 - Surface Distortion · MMT - Research · Textiles 1 - Mixed Media for Textiles

Mixed Media for Textiles – Part 1 – Selecting the exercises to complete.

The first assignment for MMT is similar to the one for ATV, it’s mostly limbering up and an opportunity to show your skill levels to your tutor. There are a large number of possible exercises using different paper manipulation techniques and you choose 10 that catch your interest. 

This is the page from my workbook showing my simple selection process.


After I had decided which exercises to complete I decided to think about the papers I would use. The techniques are very simple so the paper will be my vehicle for creating interest.

This is the page from my workbook with my preliminary ideas.

Art · MMT - Research · Textiles 1 - Mixed Media for Textiles

Edinburgh – A Visit to the Dovecot Studios

I never go to Edinburgh without making a visit to The Dovecot Studios, and as always, yesterday’s visit was wonderful. 

If you’ve never been I would highly recommend a visit, but go on a Thursday or Friday after 12 so you can climb the stairs to the viewing gallery and walk round looking down at the looms and work in progress of the Edinburgh master weavers. 

My friend Lindsay and I slowly completed a full circle of the gallery whilst a young lady and her Mom were having a tour of the rooms to discuss holding her wedding there, what an original idea, it’s a shame I’m already married! Down in the studio was a huge gun tufted rug being worked by Victoria Morton. The work required to complete this piece must be immense and the skill needed enviable, we were in awe of Victoria’s ability to translate a very complex abstract work of art into a beautiful and tactile object. 

This led us onto a discussion about ‘was this art or craft?’ We had the previous day been to an exhibition at the Fruitmarket by Mark Wallinger. The exhibition was definitely ‘art’ because it included paintings and conceptual pieces but I had been almost offended by the lack of work that had gone into the actual pieces, they were simply black paint slapped on canvas and a rather dull iPhone photograph collage and here lies the crux of our discussion. Is art about the object or the feelings it elicits?

Should art always be expected to challenge our feelings and views? Is it enough that it makes us go ‘what!’ or ‘grrh!’ Or ‘yuk!’? Should it not also make us go ‘wow!’? And can that sometimes just be a happy feeling of awe and delight? 

Where do traditional crafts fit in here? Where does the line between craft and art fall?  Previous research into Ptolemy Mann made her views on this very clear, Ptolemy states her weaving work is art and this is because of the skill required and it frustrates her that the artistic community cannot see that. 

Does the current contemporary art community have a level of elitism about it that demands that art should always be intellectually challenging? Is being pretty and attractive frowned upon? I wonder if their delicate egos have caused them to collectively agree that their work should elicit negative comments and that this was their intention all along so they do not have to work towards genuine positive feedback therefore protecting their inflated opinions of themselves. And worse still this allows them to look down and undermine the extensive work and skill that does into a piece of work that uses a craft technique as its medium. Thank god for Grayson Perry! 

So back to The Dovecot and it’s current exhibition, at the moment only one of the rooms are open, but although compact The Weavers Apprentice exhibition was very interesting.

In the centre of the room there was a loom set up with apprentice weaver Ben Hymer’s work, sometimes he is there demonstrating but not on the day we attended. Ben is working this rug from the front and the back which I found particularly fascinating.


It was very interesting to see a display of the design work that had gone into his piece Penelope. I like the fact that he worked the design from a character in a book and not a physical object.


The walls of the room were the back drop to a considered display of old and new rugs and tapestries completed at the gallery.

Art · MMT - Ex 2 - Rotational Accordion Pleats · MMT - Part 1 - Surface Distortion · MMT - Pjt1 - Folding and Crumpling · Textiles 1 - Mixed Media for Textiles

MMT – Surface Distortion – Ex 2 – Rotational Accordian Pleats

Just a quick summary tonight about the first exercise I’ve selected to do for the first assignment from Mixed Media for Textiles.

Folding generally requires precision which is quite a challenge for me, so unfortunately my folds are not perfect, not yet anyway!

I started this exercise by digging out some papers that I liked, looking for a variety of textures. And I started with some trusty khadi paper.

I folded it like a fan, added some stitch and because I love to add colour I dipped it in some watered down Brusho pigment.

For a while I’ve had a notebook with pages for copying, like a receipt pad without the carbon paper and I really fancy folding the 2 sheets together to see how the lines of the folds looked when they were transferred.

The paper was far more pliable and I soon found myself playing with the folds making them even less precise and even.

I worked the 3 pieces together into one sample after randomly dipping and dripping paint onto the papers.

The pva glue I used to stick them down enabled me to manipulate and fix the folds.


This sample is very me, it reminds me of dragon lizards 🦎 and I like the way the added colour highlights the folds. This could easily become very addictive.

I really wanted to make some small folded fans but I didn’t feel that today I had the drive or the patience to make them and I was given the perfect get out by having, on my chaotic worktop some fairy cake cases with beautiful delicate folds. As an added delight I’d got some that had been used as ink and paint pots so we’re already delicately coloured.

Working with inspiration I’m still carrying from ATV I worked some snipped off pieces into a pile with tread.


Then, just because I dipped them in the Brusho paint and after some drying and manipulation I mounted them on a very old piece of paper that I painted way back on my first textile art class on Pointillism.

 

It was cheating and maybe one day I will actually fold some myself but I’m pleased with the results. There is lots of texture and variation in the colour. The mix of original dried colour and the newly dipped colour adds depth and interest. I even felt inspired to do a little drawing.


One of the things I like to do when working on a series of samples is to have an element of focus that ties the pieces together, such as colour, or materials, or a theme.

With this type of exercise this is difficult as you are an explorer looking for treasure and limiting yourself can hinder you by not letting you travel off map. 

I had originally thought I would tie these samples together by only using pages that are currently in altered books. I liked the idea of using papers that I had painted and distorted as the base to be folded. 

I’m glad I didn’t stick strictly to this plan and experimented with some different papers first but I couldn’t completely let the idea go and did make one sample with a painted page that I further distorted with sandpaper rubbing. And of course I dipped it too.


The end result is not totally satisfying, it started off looking very amateurish. Making me think of the paper lanterns we used to make as kids! It took some manipulating and tweaking to get it into a shape that I like. 


Although I’m not sure about the final shape but I do love the colours and the way the paint has worked with the original gesso and the sanding and pricking that I added today. 


Art · MMT - Part 1 - Surface Distortion · MMT - Research · Textiles 1 - Mixed Media for Textiles

MMT – Research – Paper Folding

And there was me thinking I wouldn’t find very much of interest on paper folding on Pinterest. 

How wrong could I be! I’ve had to stop pinning my head is spinning.

Here’s my board on Pinterest.

http://pin.it/PTsjQIk

Art · ATV - Part 5 - Building a collection · ATV - Reflections · Feedback from tutors · Textiles 1: A Textiles Vocabulary

ATV – Assignment 5 – Capsule Collection – Feedback

Rebecca’s comments came as a huge relief after I’d really felt that I’d sent my capsule collection off unfinished. 

I’d aimed high with my intentions without enough thought to timescales, in hindsight I could have reined in my ideas but I’m still glad I didn’t, working on the garments was very interesting and they felt full of potential. 

Overall Comments

Well-done Sally for getting this work to me even though you feel this assignment is not yet complete. The first thing I want to advise you is that you shouldn’t make anymore work for this course. The final pieces you have made along with the development work are more than adequate for this level. The work for level 1 courses should be experimental and developmental and what you have sent is beyond this going into pieces ready for sale or exhibition. I suggest you conserve your time and energy – preparing the work for assessment and planning the next course. Remember you are only at the very beginning of your degree with two more units at level 1. I understand your feelings of knowing when a piece is finished and when to let go of a project, these are common amongst creative practitioners and why time frames are so important.  

 This section gave me the confidence to go ahead and officially enrol onto the next unit Mixed Media for Textiles.

The work you have sent me is professionally and cohesively organised. There is evidence you understand and use research material, drawing, reflective thinking and sample making to come to textile solutions. Your blog is well organised and articulate with analysis of both your research material and your own creative output.

I’ve highlighted in bold the comments from Rebecca that I’m focusing on as I go forward into MMT. 

  Demonstration of Creativity
This assignment clearly demonstrates you have understood and digested the previous four parts of this course. There is evidence you understand the value of using drawing and research material to inspire fresh work. The drawings and the textile samples are experimental with evidence of regular risk taking. They also show your ability to compose pleasing and meaningful compositions in adventurous colour palettes. The work shows you are able to make skilled judgements when deciding which samples to take forward. For example the design with a central yellow circle in print and collage. You go onto develop this in various fabric-stitched versions playing around with creating line, texture and form. This follows your line of thought as you reflect and adapt your ideas for future use. I suggest you continue to work in this way using reflection and the analysis of your out put to develop ideas and come to solutions. You have used many textile techniques and materials in this assignment in a consistently sensitive way. This attention to detail is very pleasing with interesting combinations like the putting together of soft and harsher materials. I suggest in future projects you consider using more unconventional textile materials. You will be introduced to some in the next course Mixed Media for Textiles

I better get over myself and my reluctance to draw more often. I do love using a thin pen but I’m going to have to expand my repartee and it’s not for lack of implements.

Drawing

Demonstration of technical and Visual Skills, Demonstration of Creativity

You have used drawing to inspire and develop ideas in this assignment using a range of media. These link beautifully with your developmental textile samples and the final more resolved work. I suggest you continue to work in this way and also add in using drawing as a tool for reflection by sketching your textile samples and final outcomes. Continue to broaden the range of drawing media you use and consider drawing at a much larger scale – especially when you intend to make large scale stitched work.  

I shall continue working with my research as before but I do need to develop my descriptive vocabulary, my range is very limited. I tend to think in pictures and without emojis and cartoons I’m a bit lost. I have tried some critique building exercises but they were looking at ways to make arguments for a view point. I don’t think I need to go that indepth yet I just need some better words. 

Research

Context, reflective thinking, critical thinking, analysis

For this assignment you have looked at a wide variety of research material that is well organised on your learning log and your workbook alongside your creative process. This has assisted you in shaping the direction of your creativity and demonstrates the links you make between your sampling and the work of others. I suggest you continue to work in this way – making your research material work for you by analysing it carefully taking from it what you find interesting or useful and developing this in your own work. 

After peaking with my blog being highlighted in the 2015/16 Student Handbook I’ve had a love/hate relationship with it. I’ve really got to admit that it’s a brilliant tool and when I don’t blog I miss it and I never get the satisfying feeling of completion when I don’t review what I’ve done on here.

Learning Log

Context, reflective thinking, critical thinking, analysis

Your online learning log is well set out and easy to navigate. There are a good number of images of your own work along with the work of others. I feel that you could develop the way you discuss and reflect on your own work more. I understand that self-criticism can be quite difficult but if you try to look at your own work the way you look at others this will give you the distance to be more detached. My feeling is you are very hard on yourself and that if this work belonged to someone else you would be more impressed. It is good to push yourself but also give yourself some praise and a pat on the back when you have made something pleasing. For example when you have created a pleasing sample or drawing go further than saying “I love these shapes”, attempt to understand why the shapes are so attractive and how you can develop this.  

So am I going to put my work in for assessment? It’s nerve wracking but I think I’m going to. I better get looking at the guidelines.

Pointers for assessment
Reread your feedback forms to check you have used all the tutor suggestions

• Look at the learning outcomes and the assessment criteria to judge whether your work has met the requirements

• Refer to the assessment guidelines on the oca website, Research ▷ By Course Area ▷ Textiles ▷ scroll down to page 2 ▷ Assessment Guidelines: Textiles

• Aim to organize your work so that the assessor can see the five parts of the course clearly, that samples can be handled easily and your strongest work first

 

 

Art · ATV - Assignment 5 - Your Capsule Collection · Textiles 1: A Textiles Vocabulary

ATV – Part 5 – Capsule Collection

What a wonderful experience this first course with OCA has been. It’s had it’s ups and downs but in the end I can confidently say that I have learnt loads during the process and I am so glad that I persevered and got to the end, even though I had to skid across the finish line just before the deadline!

I made the decision 13 March to submit what I had completed up to the point for feedback from Rebecca my tutor. I did it with trepidation because I personally didn’t think the 6 capsule pieces were completed, luckily Rebecca didn’t agree but more about that in the next blog.

In the package to Rebecca I posted the cheesecloth shirt. I labelld the front of the garment up as 2 pieces. Further details are on my previous blog post


 On the back of the garment I made a piece with some of the manipulated paper that I still had after completing Part 2 of ATV and one of the design trials I had done during this part of the course that was a my translation of the lines made by the folds in fabric smocking. I also wanted to try another experiment with the rippled yarns that I’d been working on at various stages during the course.


It was the movement and the scrunched up textured nature of the layers of fabric that appealed to me here. There is a rough look to it that points towards the traditional use of layers (smocking, kantha, quilting) to make a piece of fabric stronger and more hard wearing then I have used delicate lines and fragile fabrics to soften the image.


 I really wanted to do far more work on piece 5.  The garment I used as the base is a treasure and it’s made with some delightful linen and white fabric. It’s simple lines are practical and clean. It made a perfect flat base for a fabric painting.

After reading an article in Embroidery magazine I was drawn to the story of the Kibbo Kift, a group of storytellers, nature loving types and illustrators. I don’t have much to say about their politics, that is also for another time but I loved their hand made symbology and garments. They used simple, almost pop art methods (before it’s time) to develop their designs. 


For this part of ATV I had also wanted to use parred down images with strong tonal contrast. I had worked a number of different paper and fabric samples using the image of folds in smocking and the one I thought worked the best was this digitally manipulated design translated using fabric paints and machine stitch.

 

 I didn’t think I needed to do much with this idea other than enlarge it and trace onto the front of the garment. 


It took quite a while to get the paint mix right to paint in the black, white and greys. I trialled various mixes, from simple textile pens to screen printing paint (to maintain the straight lines) but finally I was able to get a fairly matt and densely opaque finish with acrylic mixed with extender and a fabric medium. 


I could have spent forever trying to get the surface finish exactly as I wanted but time was of the essence so I started the extremely fiddly job of machine stitching the lines. In truth I would have liked to have added loads more stitch, I don’t think it needed more colour but just loads more stitch.


The final 2 pieces I completed on another linen garment that I’d been able to buy off eBay. The fabric on this tunic is very dense but it was perfect for printing on and dyeing.


My first experiment involved using the Lino print block that I had made for my stitch samples. I can see me doing far more Lino printing, the blocks are very easy to make and give a nicely finished print on a variety of fabrics. The lines on the shoulder I did on a whim because I had enjoyed painting directly onto the fabric so much.


For the final piece I wanted to work more freely and organically with a mixed of materials, bringing together my photographed images of the original source documents, my Lino print, my colour palette dip dyed threads. I only managed one collection sample before I ran out of time. I’ve learnt that I need to speed up my approach to the design stages and devote more time to the actual making.

Art · Textiles 1: A Textiles Vocabulary

ATV – Part 5 – Quick Catch Up

Towards the end of ATV I have fallen out of love with blogging, we never had the smoothest of relationships and I’ve always found it the most demanding of my friends in the digital world. 

Me and Instagram aren’t as close as we once were since she got into bed with the Facebook team of dictators who seem to think they know me and my likes and dislikes better than I know myself but we still meet on a daily basis and I use her simple platform to post pictures of my work. It’s still my digital full stop; my moment to pause and reflect and I’m grateful to her for that. 

But this blog? Well, I’m lucky if I bother to meet up fortnightly let alone daily! I’ve tried, lets face it, it’s hard work, and strangely  lonely. All my other digital meeting places are quick, the post is quick (unless I’m having a huge rant) and the response it often just as quick too. I don’t have to use many words and I can select and edit what I want seen and heard, to hopefully, make it as inoffensive and interesting as I can. I know I’m there with lots of other people wasting time, sharing, promoting their talent (keep it clean!) and that is comforting and reassuring. 

Blogging is a whole different kettle of sprouts, it’s time consuming, its unrewarding and its sometimes far too personal. Over the last 2 years, yep I’ve been at this for 2 years, I’ve had some lovely comments from people and I’m unbelievably flattered by and grateful for them, without them I’m sure I’d have given up this method of keeping a learning log long ago.

So back to this relationship, it’s gone into the ‘silent’ zone. I’ve not been here for a while and now it feels like too long, am I welcome back here?  It’s like that unanswered text, should I start with a jokey apology? Say I’d lost my phone, forgotten my password? Gosh doesn’t time fly, ha ha, gulp! 

Well I’m back, hopefully without another huge break after this, but I’ve decided I’m not going to add 1 post after another in a traditional studying kind of way, in that long winded and tedious catch up way of filling in paperwork at the end rather than as you go along.  This is going to be where I’m at and how I got here, all a bit back to front but I’ve got to make it interesting to prepare or I’ll die of boredom writing it.

Despite being away from the blog my work is progressing, not as quickly as it should but I can see the end of ATV, the finish line is in sight!

My capsule collection is coming together. I have 2 pieces almost complete, 1 in progress and the final 3 planned but not started.

The nearest reaching completion is being worked on an old cheesecloth top of mine.

I thought long and hard about what types of surfaces I wanted to work these final pieces on and in the end I was drawn back to the original garments that I’d viewed at the textile archive. They had been practical linen items with smocking, embroidery and signs of wear and tear and over the time my working designs had been parred down to various simple lines and motifs. I wanted to remember and acknowledge those original garments and therefore decided I would source 3 similar garments to use as the canvas/fabric base for my textile pieces.


For reasonable sums, less than the cost of a metre of good linen I was able to buy 2 vintage linen garments off eBay (one of my best digital friends) and then after a rummage through my own wardrobe I settled on this top which I’d never liked wearing anyway.

I had a think about what I could do and how I could use all of the interesting ideas that I’d gathered.


This bought on that little spark of excitement you get when you’ve got something new and exciting to work on. I actually felt like I was transforming my research, my mark-making, my sampling into something; into a real thing! I still wasn’t sure how I could make the piece speak, how I could make it tell a story or generate a feeling/reaction in the viewer but this was a good place to start.

As I worked I used my sketchbook ideas as a basic instruction and then thinking about Rebecca’s wise words about development and exploring I added elements that presented themselves as I worked into the material. Rubbing to create tears and pulling threads to make ruffles of texture.


I moved to the left side and couched down some yarn that I’d made, by then I’d found the lost yarns and remembered how much I’d liked the ruffled explorations.


I experimented with 2 ways of attaching the yarns, the top is stitched into a slit in the fabric and lower one is simply couched down.


At this point I did a quick review of where I was and decided, as my sketchbook shows that I needed an element to create interest.


It’s so easy to fall into the trap of adding embellishments that do not relate to the design because you have them and I was keenly aware of this at this point. Then there was the old adage of ‘less is more’ but I really wanted to add more. In the end I decided to use the photo and I’m hoping to use more of them as a visual marker to link the pieces together. 

The photos are of my workspace and add a personal element; this whole module, all of ATV, has taken me on a hugely significant and important journey. It’s not just the source material playing a part in these final pieces it’s also me and how I am developing as an artist, it’s about how I am becoming true to my own voice and my desire to be creative. It’s about how I am learning, with help from my hugely supportive friends to give myself permission to be an artist. My workspace is now becoming true to me, it’s a symbol of these changes and the changes to come. 


This is the first piece as it stands now. I might yet add to it but for now I’m actually quite happy with it as it is.