Sunday 31 March 2013
Oz: The Great and Powerful
Went to see the new Oz film. It was a good source for surreal imagery and ideas . Sparked my imagination and led to under the sea teapot drawing to be developed into a print...
Friday 29 March 2013
NEC: Fashion Embroidery Exhibition
This exhibit was something I really wanted to go and see. I found materials such as threads etc were expensive, its still cheaper to buy online.
It was very interesting to watch the catwalk of City and Guilds and Uni students Textiles work.
Above: I had a go at Marbling (see sample in sketchbook). I would like to take this further used as backgrounds for drawings or as fabric decoration. The fluid movement lends marbling to a sea themed project.
Red machine emroidery- a collage of various stitches and materials combines to give a luxurious sculptural appearance to surface decoration.
Below: Combined textile piece, use of emotive text as if on a journey.
My favourite find of the day was the work of Karen Casper (Madeira Threads) on the sponsored stands. I adored her pieces, in fact there was nothing about them I didn't like. They are quirky, sculptural, colourful, mystical and eclectic- the epitomy of mixed media which is something I want to focus on. Her work can't be pigeon holed maintaining qualities suitable for fashion, art and costume. Below her work can be seen literally dripping with lace and embellishments combining tradtional techniques (devore, quilting etc) with other materials such as Latex.
Article: http://lancashire.greatbritishlife.co.uk/article/karen-casper--the-young-mum-from-helmshore-creating-waves-in-the-design-world-44609/
Karen Casper had never touched a sewing machine until the age of 31. But when I met the mother-of-two five years later at her Helmshore home she had just graduated with a first class honours degree in contemporary textiles from Blackburn University Centre. Not bad for someone who has had to learn from scratch.
‘I have always been creative, but never did anything with it,’ says Karen who previously worked as a personal assistant at the BBC. ‘My sister taught me to hand sew and I just thought that if I don’t take it further now I never will. When I first started I remember my tutor having to show me how to thread the sewing machine needle!’
Soon she was using needles to create beautiful embroidered designs on fabric and that has led to even more innovative designs and materials. Techniques include devore, quilting, embroidery, fabric manipulation and embellishment to produce fine art pieces and commerical items.
‘I’m known for a particular piece using glow-in-the-dark wire,’ says Karen. ‘I like to give texture and depth to the pieces I create whether it’s a textile for the wall or a cape to wear.
‘I always start off with a textile but it often turns into something wearable. I mainly do one-off pieces but have been spending the summer looking at creating more for sale, things like head pieces and fascinators for fashion shoots or special occasions like weddings or the races. I don’t like to use just one medium, I tend to use mixed media like embroidery, screen and digital prints in my work.’
Karen’s reputation is growing as an innovative designer and maker of items from the vintage era to the futuristic but she intends to continue her education with a master’s degree in Manchester. ‘It’s been hard going back to college, studying and looking after two young children, but I have loved every single minute of it.
‘I’ve always tried not to hem myself into one particular box so that I can grow and develop. My tutors say my talent lies in costume, so who knows what the master’s degree could lead to, maybe collaborating with other mediums like sculpture?
‘I would love to work with a team doing editorial and costume pieces. The work Sarah Burton is doing for Alexander McQueen is amazing – that would be my ideal job producing avant garde couture in a place like that. I want people to interact with my work, to touch it.’
People will soon be able to do just that. Karen has been selected to take part in a project being staged at the Whitworth Art Gallery in Manchester.
It was very interesting to watch the catwalk of City and Guilds and Uni students Textiles work.
 |
| Butterfly machine embroidery on display- unknown Textures created via layering and quilting. |
 |
| Peacock Costume- layered netting, dip dyeing and feathers. Intricately detailed and rich colours. |
Above: I had a go at Marbling (see sample in sketchbook). I would like to take this further used as backgrounds for drawings or as fabric decoration. The fluid movement lends marbling to a sea themed project.
Red machine emroidery- a collage of various stitches and materials combines to give a luxurious sculptural appearance to surface decoration.
Below: Combined textile piece, use of emotive text as if on a journey.
Karen Casper
My favourite find of the day was the work of Karen Casper (Madeira Threads) on the sponsored stands. I adored her pieces, in fact there was nothing about them I didn't like. They are quirky, sculptural, colourful, mystical and eclectic- the epitomy of mixed media which is something I want to focus on. Her work can't be pigeon holed maintaining qualities suitable for fashion, art and costume. Below her work can be seen literally dripping with lace and embellishments combining tradtional techniques (devore, quilting etc) with other materials such as Latex.
Above: vintage lace and sculpted fabrics into millinery pieces
Karen's s
ketchbook- it was good to see that she overlaps her drawings with her evaluation and her samples. Somehow this way of working makes everything come together more.Article: http://lancashire.greatbritishlife.co.uk/article/karen-casper--the-young-mum-from-helmshore-creating-waves-in-the-design-world-44609/
Karen Casper had never touched a sewing machine until the age of 31. But when I met the mother-of-two five years later at her Helmshore home she had just graduated with a first class honours degree in contemporary textiles from Blackburn University Centre. Not bad for someone who has had to learn from scratch.
‘I have always been creative, but never did anything with it,’ says Karen who previously worked as a personal assistant at the BBC. ‘My sister taught me to hand sew and I just thought that if I don’t take it further now I never will. When I first started I remember my tutor having to show me how to thread the sewing machine needle!’
Soon she was using needles to create beautiful embroidered designs on fabric and that has led to even more innovative designs and materials. Techniques include devore, quilting, embroidery, fabric manipulation and embellishment to produce fine art pieces and commerical items.
‘I’m known for a particular piece using glow-in-the-dark wire,’ says Karen. ‘I like to give texture and depth to the pieces I create whether it’s a textile for the wall or a cape to wear.
Karen’s reputation is growing as an innovative designer and maker of items from the vintage era to the futuristic but she intends to continue her education with a master’s degree in Manchester. ‘It’s been hard going back to college, studying and looking after two young children, but I have loved every single minute of it.
‘I’ve always tried not to hem myself into one particular box so that I can grow and develop. My tutors say my talent lies in costume, so who knows what the master’s degree could lead to, maybe collaborating with other mediums like sculpture?
‘I would love to work with a team doing editorial and costume pieces. The work Sarah Burton is doing for Alexander McQueen is amazing – that would be my ideal job producing avant garde couture in a place like that. I want people to interact with my work, to touch it.’
People will soon be able to do just that. Karen has been selected to take part in a project being staged at the Whitworth Art Gallery in Manchester.
You can see more of Karen’s work at http://tulleandcandyfloss.blogspot.co.uk.
Wednesday 27 March 2013
Annette Messager, Recycler and Artist
Annette Messager is a French artist who was born in 1943. Messager is known mainly for her installation work which often incorporates photographs, prints and drawings, and various materials.
Her work is surreal and slightly humorous but comments on the darkside of childhood.
"Stitches, netting, knitting, embroidery and meshes. They are all in my vocabulary. I have written on walls, these writings are difficult, if impossible to read; they are like knitted fabrics, meshes"
Within "the idea of home it is not necessarily the feminine domestic side that interests me. Rather it is the side of the home which is a microcosm, a world in reduction. Let's say that the image of a real home has an attic, all those things that are buried or repressed, like memory in the brain. There is also television, events that enter the home each day, that are interned. I think that what I make is, in fact, very linked to this encapsulation, this isolation"
" I have always used materials that were in the home, colored crayons, cloth, stockings, nets, sewing material, newspaper clippings, everything that arrives into the home and stays."
Penetration- 1994 - Constructed from Angorra Yarns
http://www.moma.org/interactives/exhibitions/1995/messager/penetra.html
Her work is surreal and slightly humorous but comments on the darkside of childhood.
"Stitches, netting, knitting, embroidery and meshes. They are all in my vocabulary. I have written on walls, these writings are difficult, if impossible to read; they are like knitted fabrics, meshes"
Within "the idea of home it is not necessarily the feminine domestic side that interests me. Rather it is the side of the home which is a microcosm, a world in reduction. Let's say that the image of a real home has an attic, all those things that are buried or repressed, like memory in the brain. There is also television, events that enter the home each day, that are interned. I think that what I make is, in fact, very linked to this encapsulation, this isolation"
" I have always used materials that were in the home, colored crayons, cloth, stockings, nets, sewing material, newspaper clippings, everything that arrives into the home and stays."
 |
My Little Effigies- 1988 My Vows- 1988-1991 |
Penetration- 1994 - Constructed from Angorra Yarns
http://www.moma.org/interactives/exhibitions/1995/messager/penetra.html
Kurt Schwitters Research and PDP
After my tutorial with Brian Falconbridge I decided to do some research into some of the key people in the art world that he said I would be interested and inspired by.
In 1917 the 30 year-old artist was drafted into military service, which he spent in the orderly room, due to his suffering from epilepsy. He was discharged after four months. The impressions of the war and the inflation made him a modern artist, who even left Expressionism behind; his first collages emerged in 1918, for which Kurt Schwitters used litter found by chance.
His art and literary texts became a Dadaist institution in Hanover, which he called "Merz", a fragment of the word "Commerzbank". "Anna Blume", a collection of poems and prosaic texts published in 1919, made him famous far beyond Hanover's boundaries. He got in contact with Herwarth Walden, Hans Arp and Tristan Tzara and took part in the "Sturm"-exhibitions in New York and Zurich.
From 1923 on he worked as a commercial artist, graphic designer and typographer for several companies from Hanover and beyond. Apart from this professional work, he continued the collages and material pictures of the "Merz"-series.
In the mid-30's he was successful on an international level for the first time; in 1937 he emigrated to Norway. His exile in Norway was followed by his escape from the German troops to England.
In 1941 he became involved with the London art scene and his work began to engage with British society and culture, shaped by the use of new source materials for his collages and poems.
His work began to be shaped by the material culture of the wartime city. The fragments of paper and found objects that he collected from London’s streets were incorporated into his collages and assemblages. As his work was made from discarded everyday items, it reflected the environment in which it was made. The materials he used included sweet wrappers, bus tickets, metal toys, pieces of linoleum and a scrubbing brush.
This form of recycling materials into art is something that captures my interest. I think where possible it is kind to the environment to use and re-use naterials again and again. It's also more inspiring for me to deal with less prescious "scraps" rather than clean paper.
Schwitters also explored the transformation of ready-made images, using photographic reproductions of nineteenth-century paintings as a starting point for collages. He was fascinated by English words and typography, and incorporated fragmentary phrases which make references to contemporary popular culture and politics, and also seems to comment on the process of adapting to making his work in a new environment. Words, as disscussed previously are a massive influenece of mine, to take this forward I would like to find some poetry with the of sealife and/or mermaids.
For Kate- 1947
Kurt Schwitters died in 1948. It is only after his death that his life's work is appreciated internationally. Schwitters was far ahead of his time and strongly influenced the art of assemblage of the neo-dadaist artists.
Das Undbild - 1919
Photos combined with text and textured papers.
1923- Aphorism
http://www.tate.org.uk/whats-on/tate-britain/exhibition/schwitters-britain/
http://www.schwitters-kurt.com/
Kurt Schwitters
In 1917 the 30 year-old artist was drafted into military service, which he spent in the orderly room, due to his suffering from epilepsy. He was discharged after four months. The impressions of the war and the inflation made him a modern artist, who even left Expressionism behind; his first collages emerged in 1918, for which Kurt Schwitters used litter found by chance.
 |
| Cover of Anna Blume 1919 |
His art and literary texts became a Dadaist institution in Hanover, which he called "Merz", a fragment of the word "Commerzbank". "Anna Blume", a collection of poems and prosaic texts published in 1919, made him famous far beyond Hanover's boundaries. He got in contact with Herwarth Walden, Hans Arp and Tristan Tzara and took part in the "Sturm"-exhibitions in New York and Zurich.
From 1923 on he worked as a commercial artist, graphic designer and typographer for several companies from Hanover and beyond. Apart from this professional work, he continued the collages and material pictures of the "Merz"-series.
In the mid-30's he was successful on an international level for the first time; in 1937 he emigrated to Norway. His exile in Norway was followed by his escape from the German troops to England.
In 1941 he became involved with the London art scene and his work began to engage with British society and culture, shaped by the use of new source materials for his collages and poems.
His work began to be shaped by the material culture of the wartime city. The fragments of paper and found objects that he collected from London’s streets were incorporated into his collages and assemblages. As his work was made from discarded everyday items, it reflected the environment in which it was made. The materials he used included sweet wrappers, bus tickets, metal toys, pieces of linoleum and a scrubbing brush.
This form of recycling materials into art is something that captures my interest. I think where possible it is kind to the environment to use and re-use naterials again and again. It's also more inspiring for me to deal with less prescious "scraps" rather than clean paper.
Schwitters also explored the transformation of ready-made images, using photographic reproductions of nineteenth-century paintings as a starting point for collages. He was fascinated by English words and typography, and incorporated fragmentary phrases which make references to contemporary popular culture and politics, and also seems to comment on the process of adapting to making his work in a new environment. Words, as disscussed previously are a massive influenece of mine, to take this forward I would like to find some poetry with the of sealife and/or mermaids.
For Kate- 1947
Kurt Schwitters died in 1948. It is only after his death that his life's work is appreciated internationally. Schwitters was far ahead of his time and strongly influenced the art of assemblage of the neo-dadaist artists.
Das Undbild - 1919
Photos combined with text and textured papers.
1923- Aphorism
http://www.tate.org.uk/whats-on/tate-britain/exhibition/schwitters-britain/
http://www.schwitters-kurt.com/
Gustave Moreau Research
Influences
Gustave Moreau (1826-1898) was born in Paris. After he left school, his parents educated him at home, where they had a large library of books that Moreau read eagerly, including works on mythology. Moreau also studied Roman architecture, the Middle Ages, the Renaissance, the artistic themes of the Middle East and Far East, Shakespeare, and the Bible.
1844, Moreau began to study art with the neoclassical painter and art instructor Francois-Edouard Picot, who gave his student a solid technical foundation for his work.
In the early 1850s, Moreau met the Romantic painters Eugene Delacroix and Theodore Chasseriau, who greatly influenced his style of painting. From them, Moreau learned to love exotic romanticism, dramatic lighting, and bright colors.
1856- Moreau travelled to Italy where their art deeply affected his work. The trip also exposed him to the influence of Byzantine enamels...
,La Pala D'oro at St Mark's Venice : The Culture Concept Circle
early mosaics,
Masada Byzantine Church floor mosaic
and Persian and Indian miniatures,
Unknown Title and Artist - 1556-65
A Persian miniature is a small painting on paper, whether a book illustration or a separate work of art intended to be kept in an album of such works called a Murugga. Miniature painting became a significant Persian genre in the 13th century, receiving Chinese influence after the Mongol conquests and the highest point in the tradition was reached in the 15th and 16th centuries. Jewel effect painting technique by using vivid colours of mineral pignents layered onto one another along with metallics such as silver.
After returning to Paris from Italy in 1859, Moreau painted for a number of years without exhibiting his work, but during this time he developed his unique style. The colors he used reflected the Romantic style, but his figures were static. He spent many hours studying Persian, Indian, and Japanese prints and from them took motifs, which he used to create his own vision of myths and religions.
Dead Poet Borne by a Centaur, circa 1890, watercolour
Jupiter and Semele 1894-95
Europa and the Bull - 1869
Moreau's symbolist paintings are in both oil paints and watercolours on canvas and paper. The way he seemingly builds layers using paints is fascinating to me. This encrustation of pigment along with jewel like tones gives a magical and embellished feel to his works. This relates to my work and I want to try and capture this textured feel within my drawings, which I hope will then translate through to my embellished pieces. I've also been influenced by the metallic colour filled Persian miniatures that Moreau took inspiration from.
Monday 25 March 2013
Work Placement... Exciting Times!!
Day One
I completed the first 3 days of my placement at the King's Lynn Arts Trust from the 18th-20th. On day one I was given my brief for the duration of the placement. I was to research surrealism in relation to the upcoming surrealist exhibition of photographs by Roland Penrose and his wife Lee Miller, as well as surrealism in relation to the schools curriculum. My task was to use this research to design a document for primary and secondary schools in order to encourage engagement with the exhibition.
The engagement activities involve schools taking part in cross-curricular activities such as creating art and fun surrealist poetry tied in with a half day visit by one of the Trusts involved artists. Liz (the Director of the Trust) suggested that I could be one of these artists which is really exciting, I love the idea of local people becoming more involved with the arts and to be part of this is special.
I also discussed ideas that I have, in terms of career after uni. I am very aware that I want to stay within the designer/artist/maker remit. I want more than anything to sell my work. I am also accutely aware that it is very difficult to sustain an income (at first) by relying solely on this. In order to be able to balance life and design, I would like to become involved with a mixture of projects including arts within the community. I remember Karen Nicol saying that as designers you need to keep your options open in order to succeed.
Liz has been really encouraging, she told me to stay in touch and that they would love to involve me with upcoming projects, even discussing the possibility of studio space within the arts centre for me!!!
Day Two: Introductions
Today Liz introduced me to her ex-husband Brian Falconbridge PPRBS
http://www.londonmet.ac.uk/jcamd/research/staff-research/fa/brian-falconbridge.cfm . He very kindly offered to meet with me for a private tutorial for the following day, I couldn't believe the opportunity to get such interesting and important introductions literally on my doorstep.
I was also introduced to local felt, textile artist Inge-Lise Greaves who gave kindly took me to our local studio space (Greyfriars Artspace) where she rents a studio. It was really insightful to view a working space, as well as to get advice from Inge-Lise on my textile interests. Her view was that I need to do what I love and the rest will follow.....I will definitely remember this from now on!
http://www.uniquetextiledesign.co.uk/About_Me.html
Day Three
I began to design the favours (accessories) for the Surrealist Soiree which will take place during the exhibition in June. I need to design and create 70 unexpected items for both men and women with a budget of £50. From my research (see surrealism post) on surrealism, I managed to come up with some interesting ideas. I will use frequent surrealist symbolism such as clocks, eyes, fruit and bugs. Later on that day I went shopping to source the materials, it feels good to work on something that I will be dealing with from start to finish. The next time I'm in, I will be working just on the favours so I need to finish ordering materials and making templates.Later on that day I had my tutorial with Brian, he was so helpful and it was interesting to speak to someone from such a strong creative teaching background. He objectively looked at my work and helped me to discover research relationships by providing me with historical and modern points of reference for my work, such as Gustave Moreau and Annette Messager (see research). He also suggested I look at Kurt Schwitters in relation to my love of collage. He ended up spending an hour of his own time talking with me, even offering a follow up! The main thing I got from him was a much needed confidence boost. Brian said that I need to consider what I call "bad work" good work. He pointed out that I will only know what truly works for me by cancelling out the things that don't.
To Summarize
- Words and their meanings are an inspiration for my work
- My enjoyment of layering and collage can reveal as well as cover up- I can take this further
- I prefer representational art
- I have a good eye for composition- continue to develop it
- Surface decoration is key within my drawings, take this through to development stage
Friday 15 March 2013
Drawing Day
Been working on my initial drawings today. Loving the Kurecolour pens because they leak through to the bottom side of the paper and make that more interesting to work on than the top (blue fish). They also blend well either each other as in the shell drawings to produce interesting colour effects.
I also like the metallic inks I've been working with and the sequins, makes the work more exciting for me if its shiny!!
I don't like my drawing of the coral below, the inks look too blotchy and thick, I think I want to try using fine pens or a completely different media such as paper collage.
Using bleach to remove colour helps to capture the light you see in aquariums and reflections. I want to take this forward and explore further.
I also like the metallic inks I've been working with and the sequins, makes the work more exciting for me if its shiny!!
I don't like my drawing of the coral below, the inks look too blotchy and thick, I think I want to try using fine pens or a completely different media such as paper collage.
Using bleach to remove colour helps to capture the light you see in aquariums and reflections. I want to take this forward and explore further.
Thursday 14 March 2013
Stew Gallery
Went to visit the 3rd year's mid-year show. I was amazed by the level and variety of work. My favourite collections are the ones photographed below.
Katie Carson's shirts were interesting because of the photographic elements combined with digital print, creating depth. The other two collections were based around quaint imagery, line drawings, humour and colour. These are all things close to my designers heart!
Katie Carson's shirts were interesting because of the photographic elements combined with digital print, creating depth. The other two collections were based around quaint imagery, line drawings, humour and colour. These are all things close to my designers heart!
Tutorial: Learning Agreement
Got some ideas from tutorial today. It was interesting to hear the diverse range of ideas and work people will be undertaking.
Some people are making use of the 3D workshops and this is something I could consider within my own embellishment work. Casting and reproducing found objects could be an interesting way of up-cyling the idea in different materials and/or colours.
Jill also suggested I may want to be more specific within my learning agreement. For example, make a range of shirts or a range of accessories because leaving it open may make my work seem confused.
I think the best thing to do would be sticking with creating "new" shirts as this is something I have been enjoying doing in my own time. There is more time to explore accessory and interior contexts for my work, so I need to stop trying to cram it all in at once.
Some people are making use of the 3D workshops and this is something I could consider within my own embellishment work. Casting and reproducing found objects could be an interesting way of up-cyling the idea in different materials and/or colours.
Jill also suggested I may want to be more specific within my learning agreement. For example, make a range of shirts or a range of accessories because leaving it open may make my work seem confused.
I think the best thing to do would be sticking with creating "new" shirts as this is something I have been enjoying doing in my own time. There is more time to explore accessory and interior contexts for my work, so I need to stop trying to cram it all in at once.
Tuesday 12 March 2013
Self Written brief and My Bradford Entry
After the briefing with Jill regarding writing and working to our own brief, I had lots of things to ask myself:
What do I enjoy doing?
I really enjoy my drawing, in particular drawing animals and creating characters from them. Most aspects of printing and embellishment interest me. Creating a product as opposed to just a flat sample is more inspiring for me, possibly because I design with a very specific context in mind. Re-using materials is a passion of mine. I often find them more inspiring because they seem to have a story to tell, plain white fabrics scare me into no action.
What do I want to improve on?
Primarily my organisational skills which with this brief and weekly plan, should improve. In terms of practical work I would like to improve my skills within embellishment, in particular within hand and machine embroidery. It would be interesting to experiment and improve on my sculptural textiles, leading on from my Bradford entry (see below). I also want to increase and refine my skills in Photoshop and digital print. Money is a limitation this term so I want to make use of the new improved sublimation printer, which lends itself well to second hand fabrics (many of which are polyester).
What do I enjoy doing?
I really enjoy my drawing, in particular drawing animals and creating characters from them. Most aspects of printing and embellishment interest me. Creating a product as opposed to just a flat sample is more inspiring for me, possibly because I design with a very specific context in mind. Re-using materials is a passion of mine. I often find them more inspiring because they seem to have a story to tell, plain white fabrics scare me into no action.
What do I want to improve on?
Primarily my organisational skills which with this brief and weekly plan, should improve. In terms of practical work I would like to improve my skills within embellishment, in particular within hand and machine embroidery. It would be interesting to experiment and improve on my sculptural textiles, leading on from my Bradford entry (see below). I also want to increase and refine my skills in Photoshop and digital print. Money is a limitation this term so I want to make use of the new improved sublimation printer, which lends itself well to second hand fabrics (many of which are polyester).
Friday 8 March 2013
Drawing "finspiration"
Today I went to visit the Hunstanton Sealife centre. I enjoyed studying birds as a visual inspiration last project, so naturally, I feel that this time it would be good to continue with animal subjects. I am also inspired by flora and fauna so I feel underwater plants could be interesting to study. As well as literal inspiration (for example with my character animals) the patternation and variety in colour and shape within sealife lends itself to print and embellishment. This is what I'm thinking of focussing on for BA6.
Thursday 7 March 2013
Storming my Brain
Material Processes I want to experiment with in BA6
Types of embellishment:
Possible materials to source and use:
Types of embellishment:
- Digital print (photographic backgrounds possibly)
- Machine and handstitch
- Sequins/beads/metals etc
- Experiment with embellisher machine
- Burning
- Melting
Possible materials to source and use:
- Ropes (as seen at Premier Vision 'Trends')
- Metal from cans
- Polyester for melting and sublimation printing
- Continue with bath mat experiments
- Wire
- Polyester threads
- Silk threads
- Metallic threads
Starting Anew: Unit BA6
Started thinking about my new project today. It's a self written brief so my head is whirling with ideas!
Current thoughts are to focus on 3- Dimensional textile samples and finished products. So far all my project samples have had to be flat and mounted on boards so now is the time to try something different.
In my own time I have been upcycling old polyester shirts and skirts, this is something I want to translate into my new project. Thinking of upcycling accessories or found materials into accessories or garments.
This leads on well from my Bradford entry that I'm now finishing, made from rubber latex and PVC bath mats...
My work experience placement will be at The King's Lynn Arts Centre helping to create favours for their Surrealist Dinner Party. They mentioned giving me a budget for each favour and creating unexpected things to wear from Charity shop finds. This would also tie in perfectly!
Current thoughts are to focus on 3- Dimensional textile samples and finished products. So far all my project samples have had to be flat and mounted on boards so now is the time to try something different.
In my own time I have been upcycling old polyester shirts and skirts, this is something I want to translate into my new project. Thinking of upcycling accessories or found materials into accessories or garments.
This leads on well from my Bradford entry that I'm now finishing, made from rubber latex and PVC bath mats...
My work experience placement will be at The King's Lynn Arts Centre helping to create favours for their Surrealist Dinner Party. They mentioned giving me a budget for each favour and creating unexpected things to wear from Charity shop finds. This would also tie in perfectly!
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