I had already decided that I would be returning to my textile archive work for this project during the time towards the end of part 4. This is where the most interesting inspiration and raw material is.
I had thought about going back to the vegetables, I’d had lots of fun working with the cabbage and seeds and I could see lots of potential there too.
But the textile archive had been thrilling, I’d loved being with these beautiful pieces of history, I’d created a sketchbook that I view with pride and that I enjoy going back to again and again. My only reservation was that I would like to work through this part of ATV at a good pace and the breath of potential ideas bought on by revisiting the textile archive might well hamper my intentions. So the onus is on me to keep to my original intend of not overthinking and using decisive decision making whilst I work towards the capsule collection.
I’m really quite excited about this part of ATV, it’s laid out well and I like the way it’s a consolidation of what I have learnt so far. It’s given me a framework to follow when developing a small body of work and I’m interested to see where the guidance will lead me this time.
So I’m not putting in place too rigid a plan; I’m going to build on what I have by reviewing and focusing on a specific aspect of my previous marking records, as the course states:
I’m very taken with this idea of light and dark, sitting side by side. It’s fits nicely with the smocks and the driving coat that I chose from the archive, I have lots of romantic, sun lit imaginaings when I think of them but I’m sure the reality was very different, especially the smocks. Life on a farm was hard work, back breaking, stomach growling, life shortening hard work and the dust coat was probably worn during the dark days of the 2 great wars. There could just as easily have been a dark side to life these garments have had and my use of light and dark would reflect this well.
Whilst doing my thinking I was immediately drawn to the work of Meredith Woolnough and her use of a single colour displayed on a single colour background in her beautiful nature based creations. I would like to do something larger and bolder.
I would also like to revisit some of the photographs that I took during the textile archive visit in Ludlow. There are some great shots of the reverse of the smocking that have some lovely movement in their wavy lines.
I would like to use my slightly haphazard approach to develop a series of pieces of work that are more striped back than I usually work. Dianne Firth’s work has caught me eye and she’s going to be the starting point for my journey looking for inspiration from another artist.
My plan is to have a working sketchbook and when required I will use display boards if I feel the sketchbook is too limiting. My sketchbook book started with a brief map of what I need to do.