Research and ideas generation

The start of this project came with a trip to Textile designers Wallace # Sewell’s shop down in London. The design duo creates a body of work that is beautifully executed and finished to the highest of standards, with scarfs, cushions throws and bags as part of their collection. As part of the initial investigation into the project we were asked, as a group of weavers to explore the national trusts archive and choose a single image or painting to work from for inspiration. The way the company works is to select a painting and then after design work and deliberation choose a set of only 8 weft colours to compliment the warp. We too were asked to follow these constraints. Achieving a body of samples and presentation boards to present at the projects end.

Wallace # Sewell scarf collection

Alongside the Wallace # Sewell aspect it was asked that we also generate ideas that could be used for the Great northern contempary craft fair, a show that runs annually to showcase new designers practice. The work housed here is of very much a unique and individual light, with only certain pieces being selected to be shown.

Working to both briefs in unison I came across a painting ‘Flowerpiece’ by Jan Evert Morel, housed at East Riddleston hall, a NT property. Upon first glance the painting doesn’t look particularly striking, but I found myself drawn to the work and chose to stick with it regardless. Aware that I needed a strong set of colours to work from I set about enhancing the painting. With some careful manipulation I was able to apply a pixilation effect to the work that despite taking away detail and lines somehow seems to make the work more readable as a set of colours.

Development of original image, pixelation and colour tests

Around the same time that the editing work was taking place, I also took a trip with the university to Dunham Massey, a national trust property on the outskirts of Manchester. I found the trip extremely inspiring and was able to gather a wealth of first hand imagery and drawings.  I made a conscious effort to take note of and observe the structural elements to the property. I was aware that structure and line would play a vital role in the weaving process that was to follow and so I found that I was drawn instantly to the patterns emerging from the tiled floors, the window panels and the shelves upon shelves of books piled within the library.

Whilst within Dunham I found that the bedding and upholstered furniture were catching my eye, perhaps this could be a context that I can explore further as the project moves forward?

Images collated at Dunham Massey. Looking at line, structure and shape predominantly

With the research I have collated up to now i think that best way for me to progress will be to continue weaving, drawing and playing around with ideas. Structure and colour will be vital to my project so this will be an avenue I will concentrate on most over the coming weeks.

I am finding that shape can come in any form, the talk Susie MacMurray gave on her site specific work was particularly enlightening and she explained how she often has to work within the constraints of a building. This got me thinking about how i could possibly use the research from Dunham Massey and try to translate this into my work, focusing on the structural elements as key areas. The talk gave me the confidence to be bold with the choice of material and concept used. Overall a very useful talk indeed.

Initial sketchbook work. Collage, Colour wraps for weave and weft paintings

Group tutorial this week was extremely helpful, it was suggested that I stick with the idea of pixelation and distortion but move this forward, working more in a physical manner to create paint samples and ‘real work’ as opposed to just the digital side. Over the weekend I plan to explore the idea of collaging together pixelated designs and work with this to develop weave structures.