T1: MMT; Pt 2; Pj1, ex 3i joining

Joining curved edges

In reading the brilliant text ‘Writing Poetry from the inside out: finding your voice through the craft of poetry’ by Sandford Lyne I was struck again by the words:

‘A lot of writing is process writing, getting us to the place we want to go, sweeping aside the “junk” in the mind to get to the “jewels.” ‘

If I were to apply this to sample making it helps alleviate the not-knowing. I don’t have to know whether this is going in the ‘right’ direction, so long as I keep making then I continue to move. This is all I want. To be in flow. To be expressing. To create.

I’ve also been reading further on creativity and how the characteristics of divergent and convergent thinking compliment and counterbalance the creative process.

I shouldn’t be afraid of either of them.

In this exercise I keep being pulled back to a place in my past. Dressmaking at school. I remember tangibly the angst with which a curved sleeve was fitted into a curved armhole – and how many times I got it wrong – puckered, strained, mis-aligned, back-to-front- and all the pain of unpicking and refitting. I’ve been back in the dark times of making trousers – the centre front seam, a curved seam lie flat enough to be flattering. I’ve been in that turning-a-heel memory – the magic of the first success, how holes and a wrapped stitch can form a triangle masking the turn, short rows…

In order to escape recreating what I already know I have tried to think of curves differently. In my sketchbook I’ve jotted down thoughts – webs, funnel web, sequin-fixing stitches – the instructions say joining 2 curved surfaces that fit neatly together – and my mind leapt to silk – silkworm cocoons, cocoons on leaves. Silkworm cocoons are like moons of fibre, their slightly cylindrical form cushioned and secured by other fibres to a leaf or other surface. Here in my mind was the ‘fit neatly together’:

Ex3: sample 1

I crumpled the brown paper and found a swatch of dc crochet which I rolled into a tube. Using paper raffia I secured the surfaces stringing and looping and knotting through torn punctures.

Looking at the piece I need to work some sketches from it as at the moment it feels rather contrived and formulaic.

I then wondered what if the curve was the seam and the curved edge was where the space met the join. I wanted to cut some curves out of thin air- nowhere, rather than cutting a curve from somewhere.

I found an old aerial cable – a plastic wrapped copper wire. It had some flexibility and memory and fell into interesting curves. How to secure this? Mudroc pinched to the wire (I consciously avoided wrapping as I know this is the process to be investigated in project 2). Mudroc itself is an interesting material being plaster pregnated fabric.

I had a go using the Lapse It App to evidence the process.

Ex3: Sample 2

I’m not sure whether I want to fill the curved spaces or leave the space to exaggerate the curved edge. Space joins – like a spider crafting its web out of thin air.

The lapsed video can be seen in the next post.

Oddly, I have a random exercise keeps popping into my head – renaming. For example renaming ‘a door’ something apparently disconnected like ‘daylight’ and then retelling what you see: with a gentle push, daylight opens and I step through… Can I use this to push my samples? The wordplay helps me look again, I wonder if it could be used to help me sample differently?


‘Writing Poetry from the inside out‘, Sandford Lyne, 2007, Sourcebooks Inc