Sampling

My current project, and in fact the project I have been working on for over a year now, all started with a trip to France, to the Tissutheque textile archive at la Piscine art gallery Roubaix to be precise. Whilst there I came across a collection of beautiful hand-cut katagami; Japanese textile printing stencils. I went home, read up about katagami and found out about the craftsmanship involved in their construction. I was fascinated by the double layers and the network of supporting silk threads laminated between; the damaged examples providing both an insight into their construction but also creative inspiration.

katagami stencils at Tissutheque

 

Since then I have made another visit to Roubaix to study the stencils in more detail. I also embarked on a period of creative research and experimentation. Originally I didn't intend this to be so extensive or to continue for so long, but such is the case when there is an open ended brief.

More recently I have been experimenting with natural dyeing, printing and mordanting. Applying previous knowledge with exploration of techniques, combining them with other surface effects and generally taking an exploratory approach. I chose to take an impirical approach to sampling, noting down fibre composition,  testing a range of processes, and combinations of process. Whilst I can't claim to have been entirely scientific about it, this approach to the project has given me some structure which I was badly in need of.

dyed fabrics awaiting the next steps

As printed textiles are not my background it has been interesting to explore this area, and whilst I certainly don't feel I am an 'expert' I feel I have developed some competance; even if my enquiries have led to even more 'what if's' than I had before. I suppose this is the very nature of learning, that the more you learn, the more you realise there is to learn. Having some time to use the excellent screen printing workshop at Bradford School of Art has been a great benefit.

modifying dyed fabrics

screen printing through an open screen

Gradually building up layers of process and image my samples are pieces in their own right. Below you can see some of the work I have done most recently, using devore onto previously printed any dyed fabrics.

devore sampling - work in progress

dye, print, stitch and devore onto cotton/silk

multi-layered textile samples

My next steps involve putting the finishing touches to some samples and then working on their presentation for exhibition.

Catching up

I must admit I laughed when I read the title of my last blog post. Although I am embarrassed it is so long since I last posted, I can't help but feel that 'rest' is the last thing I have been doing. As is normal for me at this time of year, the academic roller coaster reaches full speed and I am dragged along with it.

Although I have been stupidly busy, it has also been a wonderful period of blossoming talent that has seen my embroidery students complete their final collections for the Bradford summer show and all the excitement of New Designers. You can see a sample of their work Here. Amanda Woollard and Denise Jordan also have portfolios on Arts Thread. It has been a great pleasure to see things come together for exhibition and, as usual, the standard of work is wonderful.

While in London I was fortune to steal a few moments at the British Library to see Cornelia Parker's Magna Carta (An Embroidery), which was fascinating to see in person, having heard so much about it. It is such a clever project, but also the scale of the actual piece struck me; that a thing can be so much bigger than it's actual size... not sure that makes sense, but I think I mean the idea, meaning or story of something can be so much bigger than the original object.

New Designs

Last week I was in London with my graduates for New Designers, at the Business Design Centre, the annual exhibition of graduate design talent from across the UK. It is a massive event which showcases some really fabulous talent. Week One of the show focusses on textiles, jewellery and contemporary applied arts.

T29 Bradford School of Arts & Media

I am so proud of all the girls and their hard work. They picked up some great press, gallery and business contacts during the week and Tiaz was a finalist in the Absolut competition - Well done girls!

Below I have included a couple of new designers that caught my eye:

Megan McGinley

Megan McGinley - 'Beyond the Sea' collection

Megan McGinley studied Jewellery and Metalwork Design at Duncan of Jordanstone College of Art & Design. Her work has involved exploration of coastal landscapes and collected materials;

"The inspiration for this collection stems from my connection with the Scottish coast and the naturally occurring beauty that is found there. Whilst on my journeys on the Scottish coast I intuitively gathered objects, photographic evidence and also kept a travel diary of my time spent within each landscape. I discovered mirroring qualities in the objects themselves and the landscapes they were taken from. This was true for each place I visited and I found these reflective qualities fascinating and tried to identify how I could portray these differences through my designs in the final collection."

I loved the presentation of Megan's work and the way she had set up her jewellers bench in the exhibition, complete with journals and found objects; such a nice way to make the connection between artwork and making.

Natalie Ratcliffe from Leeds College of Art & Design, instantly caught my eye in the textiles section. Her surface pattern designs combine traditional printmaking, design and digital processes. Her Woodland Wall Panel with over-sized mono-print style plant print is stunning and her use of colour were right on trend. Her collection caught the eye of judges and she was awarded the John Lewis prize and the Wilkinsons award.

Natalie Ratcliffe - Gum Arabic Print

Malin Ødemark, originally from Norway, studied Textiles and Surface Design at Swansea. I was struck  by her beautiful natural dye and shibori fabrics. She also has a blog here.

Malin Ødemark

Finally I was struck by the paper designs of Abigail Udale, who works with print, collage and text. Her cheerful work inspired by letters included personalised mail and these beautiful paper jug sculptures. I thought her use of colour, text and composition was really fun and I am sure she will have lots of commercial success in the future.

Abigail Udale - display at New Designers

Abigail Udale

Contemporary Botanical Embroidery

Observing, drawing, making marks, stitching... thanks to Jasmin, Sara, Sharon and Cath for joining me this afternoon, it was lovely to have your company.

... hope you enjoyed the cake too.

Maison et Objet 2012

So we really did try to cram a lot into our stay in Paris. Sometimes I think it would be nice not to plan anything for a trip and just wander, although that would be best when we don't have 32 students in tow.

On the Saturday we took the group to the fabulous interior trade fair Maison et Objet at the Parc des Exhibitions. The vast show would take several days to look around in detail so it was impossible to see everything. Unfortunately there is no photography allowed in the show but here are some of my highlights.

I spotted a lot of lightly textured and distressed metallic surfaces - detailed and timeless. I think we are also due to see a lot of reflective surfaces for interior surfaces and products over he coming year or two. Two weave companies stood out, for creating the most amazing woven metal fabrics:

Sophie Mallebranche, a designer of woven metal fabrics, based in Paris. Sophie's seems to be designing not with solid materials but playing with light itself.

Sophie Mallebranche

Fameed Khalique a London based company specialising in textiles and surfaces for luxury commercial interiors, hotels etc. They produce and source a wide range of materials from laser cut leather and stone to hand embroidered and woven materials. I think perhaps the designs that caught my eye may have been by the designer Annemette Beck, who creates woven designs with diverse materials such as paper, wire and horsehair. Her website is really inspirational too.

I was also particularly enthralled with the craft section of the fair, which presented individual artisans from around the world. A delegation of makers from Korea had a particularly beautiful display of work. But I also enjoyed the work of Janaina Milheiro, an artisan textile designer who's exquisite work employs feathers woven into beautiful woven fabrics..

Janaina Milheiro, Collection Le Fil des Plumes

Sylvie Guyomard was another French artisan maker, who really attracted my attention. Her large scale wall-based works were composed of thousands of tiny flakes of slate, applied almost like sequins or fish scales, so as to catch the light. She says: "Everything is born of the earth and the universe. Finding my source of creativity in the essence of the earth, the faults and movements of techtonic plates, my compostions are energeticas well as gentle and calm. Light plays an essential role, sometimes absorbed or refelcted, transporting us into unexpected landscapes".

Sylvie Guyomard

I also enjoyed the Maison et Objet trend areas, in which artists and trend organisations put together concepts for future trends. Despite my love/hate relationship with trends (I find the concepts exciting but it infuriates me that it engenders an inbuilt disposability within the design industries), I found the areas absolutely fascinating. The 'Crazy' concept for Inspiration 2012/13 is shown in a short film, which contains some of the objects featured in the three spaces for 'Sweet Freeks', 'Art'keting' & 'Dream Box'. Despite being highly disorientating, I was fascinated by Carnovsky's jungle design wallpaper using it's clever RGB design system; take a look at their website to understand what I mean, although the true effect needs to be experienced 'in the flesh'. This was used in one of the 'Dream Box' rooms, to great effect. Another room had a bed covered in a quilt of moss and surreal furniture that appeared to be reverting into saplings.

Carnovsky

Pick of the bunch

New Designers in London is always a highlight of the year, with so many talented creative people all jostling for attention. Picking anything particular out is always tricky but here are a few of my favourite 'new designers' to watch...

Julia Jowett from Staffordshire University describes herself as an illustrator, but creates her beautiful drawings using wire and needlepoint stitching. It was a pleasure to meet and chat to Julia and hear about the background to her work.

Lynette Miller's installation was scaled down from her original show at Carmarthenshire College, yet still retained a really special subtle quality. Her work uses various media including, drawing, photography,  natural dyes and stains to create beautiful botanical drawings and constructed pieces.

The exquisite lace collars of Kerry Howley from Middlesex University look at first glance to me made of fine antique threads. On closer inspection the viewer realises they are made of hair. Some might be repulsed but there is also a great sense of wonder at the craft of making something so delicate.

No more time tonight but perhaps all add some more another time.

New Designers

On Monday & Tuesday this week I helped my Bradford students/graduates put their work up at New Designers (graduate design show, London). I was really proud of how good our stand looked and was pleased, if surprised at how the work stood out from much of the other stands. We all noticed the amount of textile and surface design that seemed very similar; loads of hyperactive digital print, clashing colour and intense (if rather flat) all-over patterning. There was very little that stood out as different from the crowd and hardly any interesting embroidery. Perhaps I am getting jaded?

This made me consider a few points:

1. I think I am bored of heavy patterning, and I think perhaps trends may start to reflect on the over-saturation of pattern in recent years.
2. I have noticed I have less respect for work that seems hastily rushed off on digital printers and basic multi-head embroidery. I want to see some real craft/skill.
3. I enjoy tactile, layered pieces that don't reveal everything all at once.

I think all of these points are feeding into thoughts for my own practice; what is really important for me?