Context of my work

After getting my teeth sunk into this project I have found that there are many contexts in which my work fits.  I can imagine the Mer'laidy collar being used in editorial shoots and I would like to look further into setting up some editorial fashion photoshoots using this work, exploring how to go about loaning my work for shoots.

I can also see my work translating well into costume and prop design for example within the burlesque dancing scene bec (hats and masks) because there is a playful theatricality within my pieces.  I am also very interested in pursuing the fashion route, in terms of commercial prints and bespoke creations.  This Summer I want to look for a millinery course in order to gain skills so that I can push my sculptural forms further and into the accessories market.  This would also tie in with creating one off pieces for weddings and special events.  I'm also going to try and learn to cover/ upcycle shoes using print and improving on embroidery techniques.

My work could also step across into the interiors and arts market such as sculpture, bespoke wall coverings and lights/ lamps.

I think my pieces could market from £60 up depending on the size of the piece. The seahorse side of my collar took 5 full days to make not including the development of the print. This piece would obviously have to be sold at a high price in order to get out what I put in. The fact that my pieces would be bespoke and therefore more expensive means that my target customer will be someone looking to spend for that special item such as a bridal party or someone with a higher than average income.

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.

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.

‘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.

You can see more of Karen’s work at http://tulleandcandyfloss.blogspot.co.uk.

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

Inge-Lise's Studio

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