This was a project of two halves, the main focus being on making artworks for the exhibition and then developing ideas further.
As the exhibition was so soon into the start of term It was quite a back to front way of working compared to past projects, however it was good practice for future exhibition opportunities, where you often have to come up with ideas quickly and focus on the making to strict deadlines.
As the exhibition was so soon into the start of term It was quite a back to front way of working compared to past projects, however it was good practice for future exhibition opportunities, where you often have to come up with ideas quickly and focus on the making to strict deadlines.
In regards to the two pieces I made for the exhibition, I was very pleased with both works as they were both borne from lots of experimental practice over the summer, I think both the works communicated what I was trying to express, which was a decorative, delicate, deconstructed way of looking at lace and the natural inspiration behind its design. while very much focusing on a craft element
Essentially, my work practice around this project has been informed by materials, practices and subject matter of the Nottingham lace industry,
The work titled" machine" is a textile and mixed media sculptural work showing natural elements that go into the production of lace.
The second work, the cyanotype tapestry is my favorite because I just think its very visually interesting and the processes is something I've not seen before. The wrapping of cotton over the frame is representative of weaving and the lace cyanotype print onto that was rooted in the history of how cyanotype was used to document lace design, I was so pleased with how the cyanotype lace tapestry came out, this was the work I chose to push forward after the exhibition .
I really wanted to experiment more with making a large piece so I pushed forward with the idea of making cyanotype from a woman's lace dress.
I had already made a test run on a piece of linen of a smaller dress, and I liked the way it showed up the detail of the lace but I thought a full length dress would give more of an idea of a person than just clothing, again with a theme about imprints and women's stories behind the industry.
Unfortunately, despite many efforts and experimentation the finished large cyanotype did not keep the detail that I had hoped - the image was not strong.
I've noted all these factors in my blog. It was a frustrating process as I had a very clear vision of what I wanted to make, however, in the time I had I did not manage to master the skills.
The work I made for this project has taken me in a different direction, I think my most successful piece of work was the first cyanotype with the lace print because, its just came out so well, I like the contrast of the frame with the bright sky blue, and the fact that the canvas is made from cotton, its tactile, it changes when you run your finger down it. Ive not seen any work like this before and I think its turned out to be not only a decorative object, but also that represents many factors of the lace industry, fame work, cotton and cyanotype, the print is from a original piece of machine made lace.
I just so much wanted to see it in a larger scale, but sadly I was unable to recreate this effect on a larger scale.
In retrospect, I should have worked my way up scale gradually. There was not a lot of time left at this point, however I feel I had tunnel vision with this particular idea. It was ambitious and though I think its better to try and fail than not try at all, I think it would have been more successful to have made a slightly larger one with cotton, rather than up scale so much I had to change everything there are so many variables to manage and take into account. chemicals and weather being the hardest to gauge.
I see lots of possibilities with this technique- when it works..and its still a working progress for me.
The work is as much about the process as the finished result. So much quiet labour, I wonder if I am still trying to prove myself, that I only feel Ive made a good project if I make something very labour intensive and give myself so much work to do- its the working class mindset of being highly productive to feel worthwhile, which was something I wanted to address with this project as, of course lace workers had to work very hard. This is something to balance and think about in the future.
In terms of physical work I feel so much more confident than I did last year in approaching a project and making decisions about the directions I want to go in.
Even if the work isn't perfect I feel confident to show my work and and talk about the meaning of my work which this time last year I think would have made me feel quite anxious
Part of the virtual exhibition involved a filmed interviewed about my work, That was a totally new experience for me and took me out of my comfort zone, but it was also good fun and nice to be able to talk about why I made the work and to be part of something that involves a mixed media approach to exhibiting art.
I think the artists that I've taken Inspiration from did come through a lot in the work especially the dresses for Giants by Shelly Goldsmith.
I looked at a lot of textile artists to find direction in my work.
I'm not particularly focused on working in any one type of media, however I notice certain narratives and themes that are running through my works- such as going back to nature, feminine perspectives and hands-on craft.
I like making tactile work and working with personal issues to tell stories through objects
Essentially, my work practice around this project has been informed by materials, practices and subject matter of the Nottingham lace industry,
The work titled" machine" is a textile and mixed media sculptural work showing natural elements that go into the production of lace.
The second work, the cyanotype tapestry is my favorite because I just think its very visually interesting and the processes is something I've not seen before. The wrapping of cotton over the frame is representative of weaving and the lace cyanotype print onto that was rooted in the history of how cyanotype was used to document lace design, I was so pleased with how the cyanotype lace tapestry came out, this was the work I chose to push forward after the exhibition .
I really wanted to experiment more with making a large piece so I pushed forward with the idea of making cyanotype from a woman's lace dress.
I had already made a test run on a piece of linen of a smaller dress, and I liked the way it showed up the detail of the lace but I thought a full length dress would give more of an idea of a person than just clothing, again with a theme about imprints and women's stories behind the industry.
Unfortunately, despite many efforts and experimentation the finished large cyanotype did not keep the detail that I had hoped - the image was not strong.
I've noted all these factors in my blog. It was a frustrating process as I had a very clear vision of what I wanted to make, however, in the time I had I did not manage to master the skills.
The work I made for this project has taken me in a different direction, I think my most successful piece of work was the first cyanotype with the lace print because, its just came out so well, I like the contrast of the frame with the bright sky blue, and the fact that the canvas is made from cotton, its tactile, it changes when you run your finger down it. Ive not seen any work like this before and I think its turned out to be not only a decorative object, but also that represents many factors of the lace industry, fame work, cotton and cyanotype, the print is from a original piece of machine made lace.
I just so much wanted to see it in a larger scale, but sadly I was unable to recreate this effect on a larger scale.
In retrospect, I should have worked my way up scale gradually. There was not a lot of time left at this point, however I feel I had tunnel vision with this particular idea. It was ambitious and though I think its better to try and fail than not try at all, I think it would have been more successful to have made a slightly larger one with cotton, rather than up scale so much I had to change everything there are so many variables to manage and take into account. chemicals and weather being the hardest to gauge.
I see lots of possibilities with this technique- when it works..and its still a working progress for me.
The work is as much about the process as the finished result. So much quiet labour, I wonder if I am still trying to prove myself, that I only feel Ive made a good project if I make something very labour intensive and give myself so much work to do- its the working class mindset of being highly productive to feel worthwhile, which was something I wanted to address with this project as, of course lace workers had to work very hard. This is something to balance and think about in the future.
In terms of physical work I feel so much more confident than I did last year in approaching a project and making decisions about the directions I want to go in.
Even if the work isn't perfect I feel confident to show my work and and talk about the meaning of my work which this time last year I think would have made me feel quite anxious
Part of the virtual exhibition involved a filmed interviewed about my work, That was a totally new experience for me and took me out of my comfort zone, but it was also good fun and nice to be able to talk about why I made the work and to be part of something that involves a mixed media approach to exhibiting art.
I think the artists that I've taken Inspiration from did come through a lot in the work especially the dresses for Giants by Shelly Goldsmith.
I looked at a lot of textile artists to find direction in my work.
I'm not particularly focused on working in any one type of media, however I notice certain narratives and themes that are running through my works- such as going back to nature, feminine perspectives and hands-on craft.
I like making tactile work and working with personal issues to tell stories through objects
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