Making this the last of the the visual research for this Part. Tomorrow I intend to do a few drawings of the first sample from today, then on to sorting so that I can have the blue bag in the post on Saturday.
I have been out and about during the day so making had to wait until evening time. All day I’ve been turning over the ideas from my research last night. From stars to computer programmes. I’ve been wondering how I could create these concepts with the addition of stitch. I am trying to keep uppermost in my mind the need to ensure the stitch transforms the surface. As I was driving I was imagining what it would be like to stitch through the ground on an architectural scale – with a huge metal pipe of a stitch – how would it appear? Would it corkscrew into the ground or leap across the grass in dashes?
Yesterday, I went to a local art cafe which has a gallery attached. The exhibition included an installation by Christopher Sacre. I was again taken by the notion that I want my art to be interacted with, I want people to be able to feel it, climb over it, go through it and see how that changes their day. I’ve never thought I shared any kinship with sculpture but the more I look and consider, the more I find that I am after a textile form that is more than sculptural. I am after a textiles form that is architectural. It forms a design which can be interacted with. Interestingly fashion, clothing allows the wearer to interact with the textile art. But there is currently something of Andy Goldsworthy that is emerging from my work. Much to explore and consider here.
So my sculptural-architectural-textile stitch samples for today:
This piece started as a spiral of 0.8mm gauge silvery wire. I then curled a cylinder of tissue paper within and tore and cut it as some of my earlier sample for this part, I allowed the torn edges to furl back and curl over themselves, others I pleated as in earlier experiments. I aimed to preserve the space within the cylinder – looking somewhat like an ice cave or crevasse when looked at from above. I decided to use the stitch to attache the tissue to the wire with an overstitch. Sometimes this went through all layers, at other times it held a pinch of tissue and surrounded the wire. This still felt lacking so I looked for a range of different yarns of different textures. I chose the end of a length of string that was rucked and twisted from its being tightly held at the centre of a ball, the shiny slippery green yarn from ATV, and some white paper raffia. I knotted these together and allowed them to drape over the form. When I look at the photos there is a figurine image to the piece in the middle left image, the bottom row recalls my obsession with jellyfish, and the knot at the top is visually satisfying due to the different yarns held closely in contrast. I wish to investigate this sample further with some drawings tomorrow.
In my next sample I found some of my children’s guinea pig straw and rolled it around in my imagination for a while. I wanted to use it as the yarn, but wanted to push this away from simply being a natural found object yarn. I therefore encased each straw in a wrap of plastic film, that held it as if in a tunnel – like some delivery chamber of the ‘beam-me-up-Scotty’ ilk. I crumpled tissue paper and cut precise lines through which to stitch the straw tunnels. This created a kind of fence-like structure. As we’d been following lorry after lorry on the motorway today Mr Man had talked to me about panel beating and how a panel is beaten to have a crease/fold in it in order to give the panel strength. This is not something I had ever considered. So I put it into my design adding a pleat, a fold, between each stitch line. This added far more movement and interest to the piece for me. Also the tubular ‘yarn’ created a great distraction from the otherwise flat surface. This could be explored further with different items being encased – or back to the secret message yarn I was developing in ATV. I also wondered what it would be like to crawl up the tunnels and what you would see – I imagine something like walking through those shark tunnels in a sealife centre.
Finally, I went back to the snipped triangular flaps as a base surface. I chose the white printer paper again for its crispness. My tutor and I had been talking about paper yarn and I picked up my drop spindle again and the sacrificial dictionary. I tried moisturizing this paper with oil as it is so dry, but to no avail, it still snapped after every hand’s length of spun paper yarn. I accepted defeat with the length but utilised this to thread through the pointed flaps. After taking pictures of this surface flat I rolled it up into cylindrical form. At first the spikes on the outside:
While this makes it easy to see the paper yarn and flap interaction I still am taken by the reverse: flaps to the inside:
I love the business of the inner landscape of this piece, the exterior seems calmly stitched – then you look down the tube… I had to draw this and used my phone app:
I am excited by this drawing app and how it allows me to look with real depth at the image and how subtle changes to scale and focus and colour can be made. It feels much more immediate using my finger to create the sketch – feels much more natural. I love that even though I can change the drawing implement I am still pointing with my finger to what my eye sees. The sketches also suggest stitching patterns and prints.
Something else I was thinking – what if you could create an animated stitch design – i.e. return the influence from textiles to computer programming as this time computer animation to textiles – have no skills yet in this area – but there’s always a time to learn!!