I will post the photos with details on how I came about each one.
I initially screen printed the linen, stiffened it with PVA and lightly sanded one edge.
I stitched in to this to reflect the aquamarine, citrine and pyrite crystals. I also made a ‘yarn net’ which I lightly stitched on.
I cut a strip of linen, again stiffened and also used some paper that I had manipulated by crumpling it, painting it with gouache and then ironing it again when dry.
I think out of all the samples, this one try to combine the most ideas and techniques. A clear reflection, I think that this is the first sample in a collection. Where some ideas have not fully formed, and where it is natural to want to bring everything along. I see this in my students many times. I can see how this can stem from a fear of letting the wrong thing- be it a colour, a material, a stitch, a yarn, a technique….. go.
As I completed sample 1, I had already made a start on sample 2. I had begun to work on some dissolvable film, using yarn colours inspired from the pyrite yarn wrap.
Having worked on the stiffened linen in the first sample; I prepared various colours and sizes dipping them in a PVA/water mix, choosing a slate grey to work on for the second sample. I think there was too much going on in my first sample and wanted to get more focussed. I chose the pyrite and aquamarine palettes and drawings to respond to.
I can see that this sample is still tentative and restricted. There are elements that work – the edging and fraying, heightened bu choosing to sew the dissolvable film pieces on the edge of the fabric.
The colours and texture of the aquamarine are interesting and add a softness, but I think it could have covered more of the linen piece.
I added in some inked up netting too underneath – again the layering works but it is tentative and unsure. I think the size and proportion doesn’t work.
I found more and more I was working on more than one piece simultaneously, or at least considering compositions for the next piece as I worked on the previous piece.
Sample 3 took a lot of time to create itself, as it brought lots of elements together which I had made but couldn’t work out the best form of compositions. It focussed on the copper bottle. I took muslin which I screen printed and then dipped in PVA.
I made fragments of stitched pieces with dissolvable film adding organdie ribbon. I also had sone screen printed tissue paper. I spent a lot of tine pinning and repinning the pieces. I wanted to create the length and direction of the bottle drawings.
Sample 4 took the most time. I had begun working on the dissolvable film fish leather piece when I first chose to investigate the idea of using the technique in the capsule collection.
I have really mixed feelings on the success of this piece. In some ways I feel that there is a real strength to the juxtaposition of the fish ‘net’ against the softness and suggested marks of the muslin. The proportions work well to support this. There need to be a lot of the muslin – the space to counterbalance the intensity of the fish leather.
I stained the muslin to give a sense of the forms that I have painted in some of my earlier drawings.
I think this does reflect many of the qualities in my drawings. My main concern is that it is too literal an interpretation. Clearly, I ended up ‘replicating’ the fish leather piece and translating the whole thing into textile. Whilst I understand the capsule collection to be ore of an interpretation of the whole mood and theme of the work.
I knew this as I finished this piece and really considered how to revise my approach for the next sample.
I went back to my drawings and wrote the main words of the qualities that I wanted to portray:
With this in mind, I sought to explore the negative space just as much as the fragments themselves. Instead of joining the ‘fragments’ to the edge of a base material, I joined them to other fragments. The only support used was a piece of white organdie ribbon.
To make up the fragments I used inspiration from the copper bottle, the rose quartz and the pyrite/citrine. Some of the tissue paper I had manipulated by painting gouache, layering it with PVA and other tissue paper scraps that I had screen printed on.
On reflection, I could have sampled further with different papers and ways to manipulate and lightly colour some of the tissue.
Using more of the paper I had originally manipulated for the previous sample, I thought back more to the secondary drawings I had made, along with the designers I had looked at such as Tom Pigeon and Slowdown Studio. I had been focussing on texture and space, but thought I had missed out on creating some of the billowy, cloudy forms that I had painted of the pyrite and rose quartz.
I played a lot with the composition of this piece and it was by accident that I ended up placing all the torn paper and strip of hematite/tourmaline inspired black/blue netting on to a piece of folded pink linen. I folded it to get a sense of the shape and size I wanted as my backing -when I realised it created a softer more billowy look than if I just cut out the size I wanted.
I stitched straight in to the fabric once I had joined the top layer of papers together with stitch. At this point I kept ‘quilting’ the paper and fabric together to contrast with the softness of the linen and hematite/tourmaline trim. The papers themselves seemed to be able to hold both a fragility and strength by treating them with gouache and PVA, and crumpling the too.