Drawing Task 1m x 1m

Given the task to create a '1m x 1m' drawing minimum over 3 days, i was a bit stuck on what actually to draw, so i decided to take 'Carol Ann Duffy' and interpret a set up based on the 'sense of her person' that i have got from her over the course of the project. Choosing a lamp, books, tea caddy, mugs, wine and a cluster of everyday items i analytically drew the set up.

In a later drawing workshop we were given the task of choosing from adjectives such as 'to weave', 'to knit', 'to puncture', 'to fold' etc. I chose 'of layers' and layered different weights of paper to build up my drawing, adding more depth. The messier it got the more exciting and lively it became. To push it further after i had completled drawing on top of the layers, i then deconstructed them and stretched the overlayed image i had produced. creating a blurred and unrecogniseable image.

Developing my Explorations

After completing many samples with my collected items, i felt like i needed some order, rather than just a mound of similar samples exploring the same concept. On a page in my sketchbook i have visually layed out sampling, drawing, image and raw collected items, and the accumulation on the page of everything together looks really good and finalised. An expression of existance. It visually works very well together.

I had appreciated from the collection of other peoples items, and the general stalker attitude. Makes you in tune with another person, i began to understand someone elses smell and sense of the entire person.  I had never really appreciated this before and so in order to take it further i went and sat in neros to generally 'people watch' and interpret other peoples behaviours and attitudes. Drawings in my sketchbook have reflected this time.

Sampling

I have really enjoyed exploring my concept through working with the collected materials. I have used a combination of destruction and reconstruction to tease apart the references to 'evidence of existance'. using the embellisher and different feet on the machine I have combined surfaces such as brown paper, hair cuttings, threads. teabags, leaves, plastic bags, ciggarettes. In particular i like this sample (see below), the way the hair is clustered within the zigzag stitch, almost peeking through cheekily. The ripped edges of the broken area softens the sample. The line of the stitch regulates it adding definition.

I also experimented with the chording foot, wrapping thread, textures and hair cuttings to create a potential differnect way of working.

interpreting collective items.

The idea of accumulating items is great in itself, but progressing with it takes it to a different level.

Im currently in the 'machine embroidery' workshop, this is so perfect for me. I have done a lot of machine embroidery in the past and have luckily had the ability to use certain machines alot before, which has put me at a certain advantage with sampling. working with the collected materials inspired from Carol Ann Duffy, ive begun sewing into them, used teabags leaving amazing stain--- sewing the shapes of the clustered teabag ontop of the stain.. I have used new techniques that i have learnt on the bernina, for example the circular sewer has been particularly useful, i have appliqued a circle of Carol Ann's work (taken directly from her 'rapture' poetry book) on top of paper and fabric, its created a really lovely sample, the edge of the paper is sharp from the satin stitch, and its interesting how the surface of the fabric goes matt to fluffy across the sample. I am really enjoying experimenting with my 'stuff' collected and going furthere with it within my workshops.

Progression: Artist Influences -- Candy Jernigan

Continuining with the idea of 'stalkerish' qualitites surrounding Carol Ann Duffy, i began looking into inspirational artists, Candy Jernigan in particular jumped out at me, she obcessively collects. Memorablilia, and everyday life experiences that take the bulk of her work. She does this to manifest the idea of 'proof of life, EVIDENCE OF HER EXISISTANCE'. The way i have been working, inspired by Jernigan, is almost proving the life of Carol Ann, collecting ciggarette butts, hair samples, photos of her house. I'm frantically collecting anything that remotely shows Carol ann's existance.
In particular the way jernigan presents her work is interesting. Obviously she selects meticulously the different items she figures important or special, likewise i have tried to adopt this way of working, what makes it into my sketchbook, or what is used for a sample is generally the items that link well for some reason, for example colour palette or scale.

Jernigan's sketchbooks are so well considered, placement and layout are a key factor for her. Similar to me, i enjoy a visually satisfying sketchbook. I find it inspiring and methodical, if my sketchbook is out of place or not up to date, i find my head is often all over the place, almost like blurred vision of my project.

BLOG ENTRY 500 words max inspired from sketchbook exhibition

VISUAL :- From all the comments in my sketchbook, I do believe my sketchbook is very visual, everyone’s commented on the presentation and being ‘visually interesting’. I have always tried to make my work well presented and visually exciting, I feel it inspires me more. 

I have noticed a change in my work though, I used to be a lot messier and all over the place. It has probably changed because of the brief for this project; I have been trying to methodically concentrate my ideas on becoming a ‘forensic artist’. So naturally my work should be methodically laid out, I have left space around samples and particularly avoided overcrowding, which was a common issue with my sketchbooks previously. 

CONTEXTUAL:- I have made references to different images and the artist ‘Candy Jernigan’ however it was mentioned by a comment that there is not enough artist research, I completely agree myself. I am definitely planning on more artist research, simply because it pushes you into looking at different techniques and ways of thinking. More inspiring.

I also need to get a move on with visiting exhibitions, before o came on the course I went to the Miro exhibition at the Tate modern, but I haven’t been to one in Manchester yet, a definite must.

Contextually wise I feel my sketchbook is really lacking.

CONTENT:- It was mentioned on several occasions that it was unclear from the beginning of my sketchbook what I was actually looking at. I deliberately did not start my sketchbook with a spider diagram, simply because they remind me of ‘A level’ and I feel they are very unoriginal. I did not leave my reflective diary with my sketchbook and when seen in correspondence, it is much clearer of my direction and starting points. However getting comments like that did make me think, I have always written a huge amount in my sketchbook, always annotated as I went along revealing my feelings about my project. However, last year at Chelsea it was almost pushed onto us not to annotate our sketchbooks and to ‘let our work speak for itself’; I guess I have taken this from last year and gone with it. Almost without thinking about it. It was commented that my samples are very detailed, I guess I have been focusing more on intricate drawing and sampling and maybe I should be writing about the ideas and construction on my work more.

Drawing wise I feel has always been my starting point and initial way of exploring. Observational drawing I feel is strong within my sketchbook, and it was commented on by peers as well.  However I do feel more drawing is crucial, I have been meaning to get out and sit in a coffee shop for half a day or so, and simply draw peoples movements, reactions and generally people watch, it would really link to the idea of ‘spying’ on someone. And you can always ‘lie’ about who you’ve been spying on.

CAROL ANN DUFFY

My initial chosen workshop was 'Dye, Fibre and Cloth'.
And working in particular with the felting really linked in with my work, by the way the words of carol ann duffys work corresponded with the descriptions of how felt is made
i started experimenting with descriptive wirds such as : cluster, rapture, tight, bound, overlapping, intense, rhythmic, encased, claustrophobic, embedded, kept, hidden, private, sweaty, close, intimate, obcessive, squeezed, knotted, embound, knitted, matted, squashed.

ORIGINS

I'm slightly late updating my blog when it comes to talking about where my work is going. (by the way, alot of what i'll be writing on my blog will have come from my reflective diary, the mini sketchbook)

I immediatly found the project origins really interesting, i especially enjoyed the launch of the project and the brief given.

When receiving the sleuths, spies and lies brief, i went away and sat in 'pret' (i always find it wasy to brainstorm in a coffee shop) and explored my thoughts. (areas i'd been recently wanting to look into anyway, i wanted to maybe diversify them into the brief)
- i loved the idea of working with black and white photos, looking at history and older generations, something with a story---nursery rhymes, childrens books etc
- i liked the idea of researching a person, linking them in to personal experiences, investing a phoebia for example
- i'd recently been to the restaurant 'BYRON' in london, and they have suggestion cards with definitions on the front of them (a very quirky and innovative restaurant) the one i picked up was 'LOVE'---- ether you are too immature to understand what i want, or youre too mature becasue you try to understand what everyone wants. you drive me crazy." i really liked the idea of analysing a peice of writing within my project which lead me on, to finally deciding on looking at Carol Ann Duffy as a person. Analysing her writing and relating experiences.

Textiles in Practice year 1

Ok so after choosing Manchester School of Art to study, we were given the summer project of making a dog, unfortunatly my dog has been misplaced, however it may have been taken to the exhibition and won a prize, in which case i will go look for it.

Summited Work Statement, Rebecca Nokes

I am particularly interested in studying ‘Textiles in practice’ at Manchester Metropolitan University because of the culturally rich atmosphere and cosmopolitan environment it holds.  The extensive facilities and workshops it maintains, will cultivate my initial understanding of techniques and methods. At Chelsea we have had the opportunity of being taught by practitioners, and I understand within the ‘Textiles in Practice’ course a more specialised interaction with textile practitioners is available. Which I think will motivate and hone in my future ambitions. I am an intuitive person and having not yet had the opportunity to work collaboratively, I feel that would be an incredible experience and could open up new ways of seeing and creating.

I have included twelve images within my blog showing you diversification of my recent work. Images 1 – 5 are selected from ‘Migrate’ a project set by Chelsea. I was looking at the migration of life cycles, choosing to initially concentrate on the stages of migration within leaves. For me personally the project moved more towards the two words ‘preservation’ and ‘restoration’. Finally focusing on the remains left from degrading organisms, direct reference to image 1, explored through hand stitch.

Recently I had the opportunity to explore Marrakech, I found the experience really inspiring. I felt I needed to further my understanding of the different culture creatively. Images 6 -9 are selected from within this period. Most recently the project title was set as ‘Deconstruct’; I responded by weaving my way into deconstructing Moroccan culture focusing on colour palette, natural environment and Moroccan textiles. I particularly used the concept of layering practices common within Moroccan interiors. Image 6 the layering of heat transfer and mono printing using Majorelle blue from Yves Sant Laurent gardens. Image 7 a creation of weaved chords, a response of Moroccan colour. Image 8 layered samples using a range of weights of material, and free machine embroidery.  Images 11 and 12, I included to show diversification within my work from a fine art angle, image 11 is a series looking at the build up of intensity and uneasiness for the viewer, created using dry point printing.  Image 12 is a life drawing in reflection from Henry Moore.

Within image 5, I have referenced Anne Wilson’s work, from an open sketchbook from ‘Migrate’.