Evaluation

Engaging with research

The process of researching contemporary artists and designers has always played a major role in developing my work. I find taking inspiration from others a crucial step to being able to understand my own way of thinking and making. I began by researching contemporary practitioners that related to my work.

The abstraction of Xioa Li's work inspired me to be very experimental with the way I was knitting. Breaking away from the conventional colour stripes to exploring different compositions and placement. What inspired me most about Li's RCA collection was the use of pastel, ceramic-like colours that coincided well with the palette that I was working with. I then found it easier to choose which colours worked best with one another. The boldness and ambitiousness of the collection led me to think about new and exciting ways to utilise the techniques I'd been taught over the course of three weeks.

Considering my knit collection as a whole, I imagine the pieces being used as textiles in fashion. I would place them in the category of haute couture, one of a kind pieces that resemble the abstraction of fabric and the different possibilities that knit can offer.

Researching Ismini Samanidou's work supplied me with a wealth of ideas and inspiration. Her weaves were a useful source of information both visually and contextually. I found it helpful to look at her drawings and how she translates them into her weaves, it gave me more of an understanding of how my use of mark making can also be a basis for my weaves.

Chiyoko Tanaka is another weaver that appealed to me in terms of how she develops a concept in her weaving. She discusses the themes such as space, surface and the passing of time. I believe that my work relates to her way of producing a sample that contains a specific meaning. There is a purpose to every part of her weaves, that is what I was aiming for when I was producing my final collection. 

I believe that my final weaving collection fit into the category of one off exhibition pieces. They are concept driven pieces that are all unique in their own way. Each one contains a different meaning and considers themes such as time, memory and loss.

Final Week

Finalising a collection

By the final week I've learnt to grasp the majority of the techniques and learnt how to apply them appropriately to my subject matter. Creating texture has been the focus point this week by producing pieces that have more depth by using the looms with thicker warps. I've also enjoyed the combination of layering both thick and thin yarns for contrast.

In my sketchbook I have been planning final composition designs to help me when weaving. I have found that it has aided me when considering proportion and placement. Attention to detail is also an important factor when it comes to fulfilling my concept. I have been including hints of glittery yarn in most of my weaves to add a different aesthetic and detail. 

White has been the foundation of most of my weaves, and I have been experimenting with different types of white yarn, from thick to thin and slightly creamy. I have thoroughly enjoyed working with mohair as it brings a lot of texture and an interesting feel to my weave.

Developing a concept

Second week of weave

Entering the second week of weave I decided to look back over the drawing in my sketchbook and select key images that would aid my weaving.

I went on to photocopy specific pages and decided to develop my previous work by introducing my yarns and extended colour palette. 

This technique helped me to produce weaves that corresponded with the work in my sketchbook. However during the course of the final week I hope to create weaves that have a lighter more tonal colour palette. 

This weave in particular coincides with my overall concept of mapping our memories. The linear qualities created by the white warp and weft seem to depict a repetitive nature. Therefore making the connection between our reoccurring memories. 

'Language'- Sue Lawty

This particular piece interests me because of its composition, the placement of mark making and its importance. Composition is developing to be an important factor in the way I'm weaving, and my aim is to produce a body of work that holds a concept and is aesthetically pleasing.

Weaving

Week One

Moving from knit to weave has proven to be a big transition. Although weave is a slower process, I'm enjoying the difference in technique and the different qualities that can be produced.

I found translating my concept slightly difficult at first as weaving was a very new process to me, and I was unaware of which techniques appropriately reflected the designs in my sketchbook.

However I soon grasped the ability to create similar qualities that appear in my sketchbook onto a weave. In my first weave I practiced a technique called 'floats' with my subtle colour palette. The technique reflects the repetition of line and texture that I've been developing throughout the unit.

Lia Cook 'Childhood/ Big babies'

Researching contemporary weave designers guided me to develop my work further by supplying me with inspiration as to how weave can be an abstract process in itself. 

Lia Cook- "my current practice explores the sensuality of the woven image and the emotional response/ connection of touch of cloth"





                          

               Ismini Samanidou- 'Drawings and Weavings'

                                                                                                                                                   Similar use of mark making and translating linear qualities into a weave.               

Wall of inspiration

One wall in my room is occupied by inspirational ripped out pages of alternative newspapers I tend to pick up in record and vintage shops all around Manchester. Filling my space with images like these help me to gain ideas and motivation to be able to develop my work. Being surrounded by art also aids me when producing work in my sketchbook.