Art · MMT - Part 2 - Joining and Wrapping · MMT - Part 2 - Project 1 - Joining · MMT - Pt2 - Pj1 - Ex1 - joining straight flush edges · Textiles 1 - Mixed Media for Textiles

MMT – Pt2 – Pj1 – Ex1 – joining straight flush edges

Yesterday after a day of sewing joins you’d have thought I’d had enough but I was getting very frustrated with not being able to find something that I wanted to repeat and experiment with so in the evening I did some hand stitching.

I thought it might be nice to work with some small pieces of fabric and because felt is quite solid and cuts with a smooth edge so that’s what I used.

I made a few structural pieces, the shapes don’t gel very well for me and I think they need more elements to make them work properly.

Using a feather in the joint worked better and I particularly like this first sample. The feather sinks into the felt in a very satisfying way, it looks very comfortable tucked between the 2 edges and the brighter and defined stitches keep it help there safe and secure.

This piece I worked using contrasting fabrics and in the actual sample the effect is quite dull, it only came into its own once it was photographed and manipulated using iPhone photography apps.

The final sample also benefited from a little iPhone enhancement, the fabric was very soft and it was difficult to sew the feathers across the gap. In the end I gave up and rubbed the feathers to make them frayed and flighty.  Pretty but not what I was looking for.

Art · MMT - Part 2 - Joining and Wrapping · MMT - Part 2 - Project 1 - Joining · MMT - Pt2 - Pj1 - Ex1 - joining straight flush edges · Textiles 1 - Mixed Media for Textiles

MMT – Pt2 – Pj1 – Ex1 – Joining straight flush edges

Today I found the cut-sew-cut-sew repeat technique that I really like and would like to explore with different materials and in various sizes but before that I was trying to find a way of joining straight edges together that got me feeling interested and creative.

Whilst I had the sewing machine out I spent some time slicing and sewing some different materials. I had a play with some plastic, keeping to a grey, black and white colour palette to start off with. Mixing in some paper to add a little bit of contrast.

It was easy but didn’t light my fire, apart from this piece where the plastic got caught up between the sides of the feet and made a lovely gentle ridge. I repeated the stitching until the whole piece was stitched through. The ridges and stitches made the plastic look like smocked fabric which always appeals to me.

I felt a bit syntheticed out after sewing the plastic so I stitched a couple of organic, natural items. The feathers were cheating really and although I love the seed pods I think this is very me and doesn’t show me pushing my boundaries enough. 

Then I had a play with the balloons! They are fab! The colours are bright and I chose fabrics to join, frame or complement that I thought worked well with the balloon colour and contrasted with the smooth rubber.

The line of bright balloons are stitched together and stand side by side with a soft, white textured slab of felt. They make me think of carnivals and beach huts. I ran out of balloons or I might just have done a few more!

Art · MMT - Part 2 - Joining and Wrapping · MMT - Part 2 - Project 1 - Joining · MMT - Pt2 - Pj1 - Ex1 - joining straight flush edges · Textiles 1 - Mixed Media for Textiles

MMT – Pt2 – Pj1 – Ex1 – Joining straight flush edges

The first few samples I did for this part of MMT involved hand stitch and for this next exploration I decided to have a play with the sewing machine and invisible thread. I was wondering how ‘hidden’ I could make the join.

On the bubble wrap it was visible but looked more like a glued edge.

On the kitchen towel the stitching was hidden but the walking foot on the sewing machine left a repeated indentation.  I actually quite liked that and it might actually be useful one day; I love the kitchen towel that I often have left over after a dyeing or painting session. The fabric is really tough these days but still absorbs the dye/ink/Brusho etc without dulling down the original colour.

On the felt I was again left with the marks around the stitches, if not the stitches showing. The join looks almost like a scar running down the centre of the piece. It’s pleasing to look at and adds just a very subtle piece of detail to the base fabric.

This sample using hand made paper with daffodil flowers included in the mix had the best hidden join but that’s probably more to do with the texture in the base paper. It almost felt pointless; I could just have punctured a few holes across the centre of the piece to get the same effect but this did prove that I could stitch easily into this kind of paper and in future I could try with a coloured thread. Or maybe join lots of little pieces together, in a cut, join, repeat manner until there’s not really any conceivable way to cut and join again. 

So that was what I did. This piece of paper has little bits of marigold in it which didn’t stop me being able to make smooth cuts.

At this stage the cuts are nice and clean and most of the paper has survived being stitched and sliced a good few times. 

The reverse is quite interesting but I prefer the front. 

The best thing about the back is these little bits of thread, base plus raised holes. 

I had set out to keep cutting the paper as many times as my nerves would allow. As I continued to slice and sew the paper lost its 3D quality and it started to get more supple, more fabric like. Small scraps of paper broke away and it was impossible to reattach them so there are now some nice organic chinks to add to the distruption of the slashes and holes.

This time I really like the back, it now looks almost ceramic. It’s difficult to tell of the holes and lines haven’t simply been pressed into a soft material. This surface could be made into a stamp for printing or small areas selected and then replicated onto clay.

I went back to when the cut and sewn piece had got a 3D quality to it. I made a second item and twisted it into different shapes. 

What a delight!  This looks like a little bird, I wonder if I will ever be skilled enough to make more of these in different bird shapes?

The shape can be twisted,  turned and manipulated into more abstract compositions and photographed in different lighting to change the areas of light and dark.

It’s late in the day now but tomorrow I’d like to try replicating this changing the scale and sampling a small and a larger example.

Art · MMT - Part 2 - Joining and Wrapping · MMT - Research · Textiles 1 - Mixed Media for Textiles

MMT – Pt2 – Pj1 – Research – Part 3 

I was given a ‘joining’ gift by the seaside the other week. A wonderful friend invited me to stay at her flat in Colwyn Bay, I had the days to myself and in the evenings we chatted and knitted. Oh, and ate cake!!

It was interesting being forced to be alone with time to spare. I spend quite a bit of time on my own but I don’t always use the time productively. I sneak out and sit in cafe’s, I meet up with friends, I go shopping, I drink a glass of wine in the garden. It’s all about staying with the pack and hiding from actually doing something. In my mind I want to sit outside and draw, I want to take interesting photographs but I’m too embarrassed and it’s easier to not draw attention and work sheltered in my room.

The weather was good so I went down to the beach, I felt strange being there on my own, I was the only one and sat quietly for a while with my headphones on. After a while I decided to go down on to the sand and have a look for shells, all the time expecting the beach police to tap me on the shoulder and ask me just what I thought I was doing stealing from the sea.

The coast line in Colwyn Bay is beautiful and quiet, it’s a very underrated part of Wales, the beach is very clean and stretches for a good distance. It also has a very interesting but sadly decaying, neglected pier. It’s a photographers dream! The fence around the pier is underwater at high tide and when the water retreats it leaves small pieces of seaweed holding onto the metal. 

I felt more relaxed after I taken a few photos of the fence and I set out across the beach past where the promenade is closed for repairs and came to a very makeshift fence put together with bits of scaffolding. 

I had plenty of time so I took lots of photos, again waiting for someone to tell me to move along, I was nervous but I carried on.

The joints were amazing, all enhanced by barnacles, lichen and seaweed. 

When I got home I printed off some collages of the photographs I’d taken and cut out some colour snaps to do some colour palette practice.

Then I had ago at doing some drawings and paintings of the images.

Finally I made a few mixed images with the left over bits of photograph. 

All very comfortable and not out of my comfort zone if you ignore my slight awkwardness at being alone on the beach but I really did have a good time and I do love the photographs.

Art · MMT - Part 2 - Joining and Wrapping · MMT - Part 2 - Project 1 - Joining · MMT - Pt2 - Pj1 - Ex1 - joining straight flush edges · Textiles 1 - Mixed Media for Textiles

MMT – Part 2 – Pj1 – Ex1 – Joining straight flush edges

How do you loosen up and play? It’s a tough one when you’re starting out, Faye says we should enjoy this (study) time, it’s a time to make mistakes and to really explore but (could this be partly due to all the social media sharing) I find it’s more a time of proving that you can be professional, a time for displaying your work and visual style. 

I started this journey to push myself to see how far (and talented) I can go, can I make beautiful work with memorable meaning. Am I putting myself under too much pressure and is this stopping me from exploring and being experimental and free enough? 

All of this is making me quite grumpy and quite angry in my day to day life as I sit trying to fathom out what I should be doing so apologies to my nearest and dearest. 

Julia Cameron talks about anger in her book The Artist’s Way, she says to expect it at the ‘midsection’.  In her case when you are working through her course in discovering and recovering your creative self. It comes after the elation of getting started and should be listened to. I’m feeling a little bit like this now; I felt I was doing okay, I was finding my voice and I could cruise for a while. But let’s get real here, that is not going to be the case and it shouldn’t be. 

I am going to listen to Julia’s words from page 61/62 in the chapter Week 3: Recovering a sense of power.

Anger is fuel

Anger is meant to be respected.

Why? Because anger is a map.

Anger shows us what our boundaries are.

Anger shows us where we want to go.

Anger points the way, not just the finger.

Anger is meant to be acted upon, not acted out.

When we feel anger, we are often very angry that we feel anger. Damn anger!! It tells us we can’t get away with our old life anymore.

Anger is the firestorm that signals the death of our old life. Anger is the fuel that propels us into our new one. Anger is a tool not a master.

Sloth, apathy and despair are the enemy. Anger is not. Anger is our friend. Not a nice friend. Not a gentle friend but a very, very loyal friend.

I am angry because this part of MMT is challenging me, it’s taking me back to the ‘new learner’ stage. I keep feeling nostalgic about ATV, have I lost myself? Was ATV my peak, did it suit me too much, am I just a one trick pony? 

It’s not coming easy but I am trying to use different materials and to repeat ideas, it all feels clumsy and forced right now but isn’t that how we feel whenever we start learning something new.  I’ve got to climb up over that step when I feel myself pulling back and not persuing an idea, get over the hurdle of ‘less is more’ 

There are going to be lots of photos and only a few notes, that’ll be the online result of taking this more persistent approach.


I started very simple with some tape and stitching. The bar idea was looked nice and I could see that working well for attaching embellishments but it didn’t make a very solid join. This all felt very tight and restrained.

I had a little go at working up the bar idea and decided to leave it there for now, it’s pretty but it’s very much my style and I need to try something different.

In the materials that I collected prior to starting this exercise were some little metal wire hooks experimented with to join some different materials.

I liked the tactile quality of these samples, the process of putting the 2 pieces together side by side, adding the metal through the material and them turning the pieces flat was very satisfying. The samples look more scrappy and I quite like that, it works well with the random twists and turns of the metal. 

 I thought the twists looked best on the more patterned surface, it was the plain, single line of metal that worked better on the plastic. The metal contrasted well against the white, slightly crumpled base.

Spurred on by my use of household plastic I made a couple of samples with jay cloths. 

I’m really not comfortable with using household items, it feels juvenile and a bit too trendy.  I like beautiful fabric and paper, I have huge respect for artists like El-Anatsui but I don’t feel that it resonates with me. Is this one of those steps I’ve got to climb over?

The cloth was actually quite nice in the end and I wonder if one of my challenges should be to work with it like it is an exquisite piece of material?

At the end of this making session I wrote up some notes and ideas to take forward.

Art · MMT - Feedback from Tutors · MMT - Part 1 - Surface Distortion · MMT - Part1 - Assignment 1 · Textiles 1 - Mixed Media for Textiles

MMT – Part 1 – Surface Distortion – Tutor Feedback

There’s so much to think about! Faye has given me some excellent pointers, I’ve certainly got plenty to do. I’m finding the MMT exercises pretty boring but I think that’s the idea; take a simple idea and push it to the limits.

I’m still finding this difficult to do, I find it really difficult to loosen up and just keep trying something over and over again. I do have a comfort zone and it’s a place I soon find myself hiding in. If I’m going to get really good at this I’ve got to push ideas further and further. I think sometimes I hold back from this because I know I’ve got to write something interesting about all these little bits but that’s just an excuse. 

So onwards and upwards and let’s see if I can push some boundaries. I’ve put the highlighting/underlining to show the comments I’ll be focusing on.

Overall Comments 

 Well done Sally- you have made a good start to the course and display good reflective skills and the ability to progress ideas.

I found that the project was relatively tentative, in that I feel that you would have benefitted further from a deeper investigation into materials and their possibilities. Each technique that you tried showed potential to be pushed further in exciting ways, and got particularly exciting when you began to combine materials and techniques (for example, stitching and pleating/cutting and layering/embossing and paint). I would have just liked to have seen more testing- perhaps in a methodical way- of the techniques. For example, you could have taken the pleating further by trying to pleat plastic (using heat too?), foil, thick cardboard, two materials sandwiched together…then maybe explored large and tiny pleats…and then looked at the different pleats you could try- not all pleats come in straight parallel lines. I think you should perhaps look into tessellating origami- I think that you would appreciate the patterns and lines created. I liked that you tried out irregular folding though, and the pleating of the images was beginning to get interesting when you created a more obscured or abstract image.

Perhaps in part two you should try out the same technique but challenge yourself to try as many different materials as you can get your hands on– sometimes the most exciting results come from trying out the unknown, or pushing the boundaries of a material to its limits.

It was great that you enthusiastically tried out all the different ideas and I could tell that you really engaged with the project, but I can’t help but wonder if you truly pushed yourself out of your comfort zone? Only as the whole body of work had a certain ‘style’ to it- on one hand that’s great as a practitioner, but on the other hand I urge you to really try out new aesthetics across this course so that you truly find yourself at the end.

The most successful pieces were those that looked a little bit different to the rest: the clean, cut geometric sheet; the layers of straight cut pattern; the combination of pleating and stitching and a couple of your abstract collage pieces. I also thought that some of your observational line drawings were really beautiful and showed a really sensitivity to line quality- more of these please!!

I suggest also that you experiment further with scale on the next project, don’t be afraid to go large for some experiments! Too often, students make the mistake of sticking to the same scale/style throughout a course, and they will never have truly made an informed decision about their own use of scale without having a direct comparison to reflect on. I get a lot of energy from your work and think you could really have fun with trying out more new approaches and setting more challenging goals!

I really liked where you started to experiment with contrasting materials too- this could be something that is pushed further throughout the course. I particularly liked the pleated piece with the direct contrast of matte paint and glossy paper.

It was great that you chose to explore colour with these techniques- but at times I felt that your palette became a little ‘muggy’- perhaps you would benefit from spending a day or so doing more work on just colour- creating sheets of collected colour/looking at colour theory/extracting colour from photographs? Also don’t underestimate the beauty of crisp white materials to really show off the texture of a manipulated surface.

You have an excellent connection with your research Sally, well done. You really tell me why you appreciate other work and why, and you show good reflective skills of your own practice too- keep this up and don’t be afraid to question your practice even deeper. I would suggest to continue to be continually looking at other practitioners, or things that inspire you regularly, and incorporate them into your personal work to keep it fresh and continually moving forward. Your initial brainstorms were great- I would maybe use them throughout your project too and not just at the start as they provide you with a good way to stop and reflect on your work to date and how to move it forwards (or which ideas to leave behind). Your blog is really great, keep using this as a learning and reflective tool- don’t forget you can always scan in and working lists/brainstorms etc. to comment on.

Overall, a good start and with more investigation into materials, more informed colour choices and experiments with scale, I am really excited for your next project!

Feedback on assignment

Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity

• Good range of approaches and willingness to jump in and try new ideas.

• Displays evidence of being able to progress an idea- just need to push the ideas even further through scale and material application.

• Idea of ‘contrasts’ and combining processes showed lots of potential for further investigation.

• Good to try out colour, but palette needs to be more informed.

• Avoid being too ‘comfortable’ and take risks.

• Be aware of things visually fighting with one another.



Demonstration of technical and Visual Skills, Demonstration of Creativity

• Good use of sketchbook as a learning tool.

• Don’t worry about trying to cram things into an area- for example your mini booklet of line drawings was too beautiful to be tucked away!

• Sketchbook shows a methodical approach to work that should definitely be built on in the next project.

• Good use of sketchbook- don’t be afraid to work out of it more so not to limit your scale choice.




Context, reflective thinking, critical thinking, analysis


• Excellent connection with contextual research.

• Try widen your search for contextual research- more gallery visits/archive visits/books to enhance your knowledge.

• Consider stopping to pause and reflect at more regular intervals throughout the project with a brainstorm/spider diagram.

• Don’t be afraid to question your practice even further!


Learning Logs or Blogs/Critical essays

Context, reflective thinking, critical thinking, analysis

• Excellent use of blog as a reflective tool.

• Consider uploading pictures of to do lists/spider diagrams etc. to reflect on.

• Reflect on this tutorial as soon as possible to help you make decisions for future work.



Suggested reading/viewing


These books are great to look through if you can access them at a local library?

Comme de Garcons did a collection campaign some years ago now using folded faces as the main focus: You’ll find more from digging around the web!

Art · Feedback from tutors · MMT - Assignments · MMT - Feedback from Tutors · MMT - Part 1 - Surface Distortion · MMT - Reflection · Textiles 1 - Mixed Media for Textiles

MMT – Part 1 – Surface Distortion – Video Tutor Feedback

This is the first time I’ve received my feedback via video. 

I was worried that using this method would give me nowhere to hide if the feedback was negative and I was upset but Faye was brilliant and I actually found the face-to-face conversation really useful.

After the call I thought I better write down all the feedback swirling about in my mind as quickly as possible.

Art · MMT - Part 2 - Joining and Wrapping · MMT - Research · Textiles 1 - Mixed Media for Textiles

MMT – Part 2 – Research – Part 2

I don’t think any journey into the world of art that has joins as one of its main features would be complete without looking at the monumental work of El Anatsui. The scale of his work captures your attention first and the patience that must be required to built up such vast expanses of tiny pieces joined together with wire is enviable. 

Another amazing aspect of El Anatsui’s work is his ability to maintain balance and beauty in his composition at this scale, it’s hard to stand back and look when you are working with metres of metal ‘fabric’.

Again I had found an artist that uses found and repurposed materials, it’s as if joining and re-cycling goes hand in hand. 

Is this because you are:-

  • Building
  • Displaying
  • Changing the purpose of the found item
  • Lifting / attaching heavier items?

Could it also be because the artist wants to display as much of the individual items as possible? I had a quick go at putting this thought into practice in my sketchbook.

Throughout this research exercise I had been gathering words and I decided to lay them out on a mindmap and then because I really want to extend my vocabulary I looked up the words in a thesaurus and added the similar words and a few ideas for materials. I think these should keep me going for a little while!

My last foray into joining research led me to Ali Ferguson and her ‘patchwork’ made with wood and embellished with delicate sewing items. It’s not to my taste but I admire her choice and her ability to make such beautiful work with such a solid, functional material.

Art · MMT - Part 2 - Joining and Wrapping · MMT - Research · Textiles 1 - Mixed Media for Textiles

MMT – Part 2 – Initial Research – Part 1

When I started looking for makers, designers and artists that used joining as a main feature in their work I thought I would have to search very hard, but in reality it was relatively easy to find some amazing and inspirational work.

My Pinterest board OCA – Joining & Wrapping soon started to fill up. I had a look at some of the links in the course materials and then I used the links to look up and investigate more artists.

Firstly I looked at Pippa Andrews, her use of spacers is fascinating and allows her to work with both structured repetitive and formal designs and more organic and chaotic constructions.


I chose these keywords from my notes:


Pippa’s cardboard work lead me onto looking at Ai WeiWei’s amazing installation of joined stools. I just loved the tumbling, otherworldly feel of it along with Peter Le Couteur’s piece Ivory Tower 1 with its use of piano parts and cable ties. How do you decide what should go where? Even more random and remarkable in its making is the design put in L’Eclaireur’s Paris store by Studio Arne Quinze. It’s well worth looking at the Arne Quinze website, his wooden structures are breathtaking, the individual elements, chunks of old wood are not particularly attractive but when placed and joined with such talent and consideration they make visually stunning structures.

I chose these keywords from my notes:

Cable ties – variety – jumbled – confused – piled – tumbling – balanced – repurposed – jagged.

After this assault on the senses by the use of large scale installations I went onto to look at the more delicate work of Julie Dodd. This ladies work blows me away. She translates natural forms using repetition making delicate but also robust structural pieces.  Like Arne she likes to recycle discarded materials, she works mostly in wire and paper but has ventured into fabric.

I particularly like the way that although Julie uses repetition she varies the size and shape of the elements and pieces in her structures.

The blood cells body of work draws my attention because it is such a vast assortment of different objects, there are 3D structures, pictures, pods and installations.

Keywords from my notes:


Art · MMT - Assignments · MMT - Part 1 - Surface Distortion · MMT - Part1 - Assignment 1 · Textiles 1 - Mixed Media for Textiles

MMT – Pt1 – Assignment 1 – Sketchbook 

After I had finished the samples for each of the exercises I decided that I didn’t want to work strictly to the brief and review the stash to decide what to submit for assignment 1 instead I decided to make a small body of work in a sketchbook, inspired by Alison Worman‘s sketchbooks in Uppercase magazine and on her website. 

My intention was to draw together the techniques and their application that had inspired me and peeked my interest so far with some research that I’d done in my sketchbook during Project 5 – Ex2 – Stitching, with some photos and ephemera left over from the sample making.

Page 1

Oh those little balls, tied up in sari silk, they had such potential but they just didn’t work out but it didn’t mean that the photos didn’t.  

I’ve connected them together with stitch and a few words. I balanced up the composition with a bit of ripped paper and used scratching and colour to add some harmony.

Page 2

And back a step to a photo before the bouncy balls were wrapped up, I loved the contrast of the bright colours and the absolute circle shape against the more random and faded patten of the sari fabric.

There’s a bit more connecting with stitch between those defined focal points and the words I’d chosen.  And because nothing is left behind I added some of the fabric mounded with hot water and the bit of felt that kept sliding off the bubble fabric mould back in MMT – Pt1 – Pj3 – Ex3 – Using Hot Water.

To highlight the textures and ripples in the mounded fabric I added some coloured ink. I particularly like the edited version of this on my Instagram feed.

Page 3

I went back to Michael Von Hassel‘s book for this piece and did some distorting and messing with the image to add drama. I used the yellow thread to over emphasis the rays of the sun breaking through the clouds. I work very much with my gut when I make scenes like this, I tweak them until I get the jarring and feeling of interference to make me feel either harmonious or disturbed. 

It’s this internal gut feeling that’s so difficult for me to explain and express so that I can effectively demonstrate my ‘conceptualisation of thought’. I have to dig deep to find the words and face the feelings that influence and direct my gut. 

I also don’t think I would be able to do this without the learning blog, there’s something about typing the words and considering a wider audience that motivates me to think harder and longer about what I’m writing.

Page 4

It was the original Japanese ladies sample that started me down the route of using photographs in this part of MMT and I decided to revisit the original idea for page 4.

The incremental folding wasn’t enough this time so I added some connecting threads and words and it was the thread coming from the eye that made my gut kick in this time.  I added the words ‘timeless’ and ‘treasure’  because I felt the ladies had an almost haughty look about them as if they know they are guardians of this timeless treasure of Japanese culture and no one was going to tell them otherwise.

Page 5 

Lots more distortion and mixing up of the techniques with this piece. I’m loving cutting out circles and altering the rotation of the cut circle inside the outer setting.  I just went for a subtle movement and over exaggeration this time.  Less deal meaning here but just some playing around with colour and texture. 

I had some feedback on this photo on Instagram ‘The textural distortion really enhances the red depth’ thanks to @cbankssurrey, I think that pretty much covers it.

Page 6

Many of the images that had appealed to me when I’d done my research for Cutting Holes had included holes that had been burnt, I did have a brief go at burning a photo with the flame from a lighter but after a rather scary moment when I thought I might set my, super combustible, workroom on fire I decided I needed a less dangerous method of burning holes.

In the end I dug out a soldering iron that I’d bought years before and never used and put it to work burning a few holes into a photograph I’d taken of some cow parsley.

I then added some stitching working with the burn holes as a guide and found that I was definitely more drawn to the longer more elegant ‘stitches’. 

The composition was okay with the stitches but it still felt very empty so I added some of the failed and only vaguely mounded fabric from the Using Hot Water exercise and added it to enhance the dreamy quality of the distorted photograph. 

I particularly like the colour palette that was finalised by the intervention of the page colour.

Page 7

The photographs of the sari silk bundles had come out so well I couldn’t just leave them, so I did another experiment with the circle cutting idea. 

And because I was rushing and used a knife instead of looking properly for my circle cutting contraption my circles weren’t very good. So I found one of the less that successful pieces of sari silk and used the only interesting elements – the bits of stitch I’d added before boiling it in the hot water to fill the holes.

I then made a useful discovery, if you sand down the edges of cut out pieces of photograph you get a lovely white edge and those edges fitted very nicely with the white lines made by the photographed threads.

I feel that this composition is unfinished but I decided not to mess with it any further because I was in danger of destroying the original image. It looks better here close up than it does on my Instagram feed, which is unusual. Often the original is greatly enhanced by the use of clever chopping, sharpening and the application of the right filter.

Page 8

When I was doing the research before MMT – Pt1 – Pj5 – Ex2 – Stitching I had been drawn to the long threads found on the looms of weavers and my favourite place to see weaving is the Dovecot in Edinburgh. 

This page draws together and is my response to my 2 favourite exhibitions.

 I had originally intended to cover the work of Chun Kwang Youngin my research before I began part 1 because his work is all about surface distortion and he manipulates and works expertly with paper to translate his ideas. His work totally blew me away the first time I went to the Dovecot back in 2016

Page 9

The music festival season is back upon us and this year we’ve not been able to attend many of them but we are getting to go back to Looe Music Festival. It’s a great weekend and the first time we went we loved the stage on the beach and the flags that added the perfect interactive decoration.

At night the flags were often dramatic and thrashed about in the wind heightening the atmosphere surrounding the act on the stage at the time. And during the day the colours made them more serene and summery.

I’d used 3 of my photographs in the exercise and had played with the images. using my iPhone and a couple of photo manipulation apps. 

This pinky, purple one was my favourite, the app had added a couple of bit blobs of light and I decided to highlight them with scratches and colour. Then I found a scrap of a magazine article with some random words that I (and my gut) liked.  

I don’t have the vocabulary to explain why I bought together an article on post modernism and the current resurgence in music festivals attendance, maybe I should be doing a different degree!

Page 10

More balls wrapped in sari silk! I’m just not getting over the fact that this didn’t work and I just keep having to try and made a success from the failure.

This piece is a lot more messy, I was working at night and playing with some liquid gauche that I’d just bought. I was only going to do some painting but it dried so quick I decided to continue. Tiredness made me more random than usual.

I went for cutting some slits and threading with silk fabric rather than cotton embroidery thread, though I did add some later to pull down the bottom flap like an eyelid being dragged down. It gave me an unsettling, macabre feeling that I liked.

The idea of eyes wouldn’t go away so I had a rummage about and found this image on an advertising flyer. It was perfect for making another unsettling eye composition.

Faces had featured a lot in my research but after using the image of the geisha’s face I hadn’t really revisited it despite being fascinated by the work of other artists on Pinterest who make manipulated portraits. 

The words ‘remedy’ and ‘memory’ were chosen because I’ve been listening to a book (A Song of Shadows) that has the thread of finding and bringing to justice the last few Nazi war criminals running through it. It’s a piece of fiction but the author uses the story to raise questions about the validity of continuing to peruse these old people.  My choice of words is my response to that question, we have to keep the memory of the horrors of the Holocaust alive, but does that provide the remedy? Perusing and prosecuting war criminals for their acts of genocide continue as new atrocities are committed, it’s not stopping it happen, but does this public show of justice become part of the remedy for healing the people left behind if not the actual act of wiping out an entire group of people because of their beliefs. 

As you’d expect I got lots of gut feelings from this piece and I spent quite a bit of time moving the elements round to get the layout exactly how I wanted it.  And I was the only one, I knew my composition was working when I got this comment from my lovely friend @tesswyatt on Instagram ‘Those eyes are creaking me out – what are you tapping into my subconscious I wonder’. I had to admit that it was nothing subversive and maybe just a request for her to ‘buy me cake!!!!’

Now, that’s Part 1 of MMT all done, now time for a cup of tea and maybe a piece of cake ….. Tess!!