Evaluation

For me the 'ordered opposites' project has been one of mixed feelings. To begin with i was excited about starting a new project, new ideas and new concepts, but i found that my choice of workshop didnt really help me to understand my work. I firstly chose hand processes, mainly because i wanted to learn a couple of new hand stitches. It quickly became apparent that the workshop wasn't aimed at 'teaching me new skills' but in fact about developing existing skills, this to be honest bored me slightly. Kate, the workshop leader, was always very much aware of my dislike for the workshop and tried to help me narrow down my ideas and get rid of the hatred i had towards the 4 week session.

I found myself eventually beginning to enjoy it and over time began to produce a solid body of work that reflected my ideas rather well. Looking at texture and pattern, the hand process session really did help me to broaden my horizons with materials and scope. I began to use glue as a key factor in my work, and began to create my own 'glue fabric' to work into. Using, paint, glue, bleach and ink i experimented with different layout and mixtures, and adding the element of french knots over the top gave the work a new dimension.

For the second half of the project i entered back into the world of weave, something i was tremendously excited about! I had from the onset, a clear idea about what i wanted to create. Not a full length weave, but more a body of samples in which i can learn from in the future. I started the weave workshop with a very strong image of the colours i wanted to use, this stayed the same throughout the entire workshop. My colours were taken from a painting i had done a few weeks previously in my sketchbook, an observational study from a mineral rock at the Manchester Museum.

I found myself lost in a world of weaving for 4 wholes weeks and everything about the sessions excited me! I this time around, was working on a much larger 24 shaft loom, giving me the opportunity to work with 2 warps instead of just one. I was able to work with warp floats, seer sucker and add a selvage to my weave. All these processes have confirmed for me that i want to carry on with weave, as it is something i feel i will become good at with more time and skills.

As for my weaknesses in this project, i would have to say i have somewhat neglected my drawing skills. I found that juggling drawing, sampling and my workshop work was a little over bearing and through my own sillyness i kept putting off my sketchbook work, saying that tomorrow would be different. It has become apparent to me that i seem to work better with an element of stress on my shoulders and in the last 4 weeks or so of the project i kick myself into gear and really put in the effort, maybe not the best idea. 

To conclude, i think i have tried my best within this project. My ideas have really come to life and i believe that i have done the samples to the best of my abilities, despite having a rough patch with illness. 

Weave, Round 2!

Intermediate weave was something i couldnt wait to get my teeth into! From the first time i did the weave workshop i knew in my mind that i wanted to be a weaver, the buzz i got from working on the loom was incredible! 

I knew going back to weave that i would have to up my game, try some new things and most importantly, use a BIG loom! I couldnt think of anything more daunting! The 24 shaft looms were a wonder to behold, not only did they do the work for you using a chip, they enabled you to create a much wider, longer weave. I started by making a range of colour wraps, i knew from the onset that i had a particular colour scheme in mind, as i would be working from one specific painting from my sketch book.

The initial making of the warp was easy, over in 2 hours. Next i had to transfer my warp onto the loom itself, this process took about 2 days, on and off. The most challenging thing was by far threading the 500 headles! i hadnt made it easy for myself, using 500 ends i knew i was in for a long task, but the back breaking, never ending threading was beginning to test my patience.

Finally after threading, pulling through the raddle and tieing on, i was ready to start weaving. Oh, wait,  first i had to master the art of programming the loom cartridge, again something that sounds easier than it is. After messing around for a while, working out different pegplans and patterns i began weaving. 

Initially i began with plain weave, then satin, twill and honeycomb (my favourite). With my colour palette already confirmed i began creating patterns, textures and imagery with my weave. Looking at small areas of my painting i was able to create a few different effects, each of which i think work really well. 

Three in particular that i love, are the plain weave sample, the warp float and the seer sucker!

Below, images taken during the weave process.

Museum of science and industry

Mid project my boyfriend decided he wanted to take a trip to the MOSI, so reluctantly i went along too. Thinking that all id be looking at would be engines and planes i wasnt too excited. But to my excitement i found a whole section of the museum dedicated to the cotton industry and in particular, weave! I listened in awe as a representative of the MOSI gave a talk about the industry in the 1800's and found the stories of how young children used to rick their lives to clean the looms fascinating. Here are my snaps from the day.

Rocks & Minerals

Below are a selection of images i collected during a brief visit to the Manchester Museum. I found myself particularly fascinated by the variety of colours and textures of the rocks and knew instantly that i wanted to base my project around that idea. Looking in depth at the images i collected i began to create a range of drawing, using different medias.

Hand Processes (continued)

French knots, so simply yet so effective. I first fell in love with the french knot at college and when i started the hand processes workshop i was delighted to find my favourite stitch on the agenda! I started by using the french knot simply onto plain fabric, experimenting with colour of yarn and thickness. This soon got boring and i found my self challenging myself, i asked the question 'what would be great with a french knot on?'. Many ideas came to mind, yarns, wood, glue! 

I played around with a couple of ideas and found that glue and french knots was a lovely combination.

Here are a selection of my works.