Evaluation
Unit X

 The pieces represent the research I conducted throughout the unit and I can imagine them being details of a costume or an eccentric fashion accessory.   

 The piece that is the least evocative in my opinion is the weave inspired by Justine Ashbee's work photographed above. It is the weakest in terms of structure and fitting in with the colourful, outlandish brief. The use of gold is effective, especially the way it sits on the loose strands of yarn, nevertheless it is still too subtle and minimalist compared to the other pieces in the collection.  

I am happy with my colour palette and how it refers back to some of my initial research of carnival costumes, especially the gold, silver and red as these colours rapidly occurred in many of the costumes. 

The gold leaf is an important factor as it brings the collection together, thus giving the pieces a unique connection. The subtle glimmers of shimmering gold adds a different dimension, it glamorises my work and gives it an air of sophistication.

I feel that not enough concentration was given towards experimenting with the embroidery techniques I learnt during the first few weeks. The hairpin technique proved to be the most appropriate as it enabled me to create a textured piece full of flamboyance.

Combining Embroidery and Weave

Merging both my embroidery and weave samples seem to create an ostentatious piece alive with texture and vibrancy. 

The contrasting elements seem to complement each other, the carefully constructed patterned qualities of the weave work well with the wild mohair fringing.

Documenting a process

Applying gold leaf

After taking my weave off the loom, it was then time to apply the gold leaf. The first step was applying the metal leaf adhesive, and then letting it dry for fifteen minutes, however as I became familiar with the process I discovered that leaving the adhesive to dry for longer worked more effectively.

The procedure was very meticulous and frustrating at times, however rather enjoyable towards the end as I understood what methods of application were most successful.

A steady hand and a gentle approach were key for the gold leaf to bond properly. I discovered that the thicker the yarn the more difficult it was to get the gold leaf to stay in place and stick down.

 

Contextual Understanding

Artist: Claire Curneen

Claire Curneen is one of the UK's most renowned ceramicists, and has been a practicing artist for nearly twenty years. Working mainly with porcelain, she generates figurative sculptures that reference Roman Catholic imagery Italian Renaissance.

 The understated hints of gold contrast beautifully with the purity of the white ceramic. I have tried to mimic this approach and incorporate it in my work, being cautious and avoiding extensive use of the gold leaf in order to maintain the subtle quality of Claire Curneen's work.

A close up of one of my weave samples, integrating the ideology of 'less is more'.

Making connections
Relating samples to sketchbook

 The initial fairground research has led me to a range of different possibilities, the subject has allowed me to look at fashion designers, colour trends and textile and fine artists.

In one of my weave samples I have attempted to create an edge of fringing with red mohair, which relates to the above image which is a page in my sketchbook.

Towards the end of my sketchbook I worked on compositions and proportions to aid me when weaving, whilst simultaneously  incorporating my colour palette.

I adjusted the compositions slightly when weaving as I wanted more of a pattern instead of blocks of colour, and also a lower proportion of gold as I used leaf instead of gold yarn.  

All Roads

Textile art and creative studio

Based in Los Angeles, Robert Dougherty and Janelle Pietrzak are a working duo that combine their skills such as 'carpentry, welding, sewing and weaving' in order 'to solve design challenges and create objects and spaces'.

 The yarn that I have previously used in my weave is very thin and therefore takes a long time to weave a substantial amount, consequently slowing down the making process. Using gold leaf as an alternative will not only speed up the process but will give me the opportunity to place it on different textures and witness the effect it has.

Weave sample using gold yarn

The gold yarn does not create enough of an impact on the sample and therefore makes the weave look flat and dull. Using gold leaf however will give my samples a more painterly effect that can relate to the work in my sketchbook.

Artist Research

Olga de Amaral

Born in Colombia, Olga De Amaral is a distinguished artist who works in a sculptural way , manipulating the two-dimensional side of textiles by incorporating precious metals, paint and fiber. Her work is based around her own identity and Colombian culture. 

The use of gold in her work was the main reason why the pieces  stood out for me, it gives the work she produces a unique and rich feel to it. By using gold in my work I hope that it gives a similar impression of preciousness and glamour.

Justine Ashbee

This piece of work in particular by Justine Ashbee has inspired me to experiment further with weaving. The loose warp could act as I type of fringing, trapped between to blocks of weave. This technique however could make my weave rather weak and fragile, which would make it hard to handle.