I often go off on a limb when researching artists, but looking at the suggestions in the course notes I decided to try out following the starting list.
I used pinterest first of all to get a flavour of each artist and decided there was something in the work of Pippa Andrews that I could engage with.
I looked at her website and the 2 part interview on TextileArtist.org (links below).
My first impression was there was a contrasting body of work – there seemed to be less and less fabric work and this was confirmed in the interview where the artists herself senses a new direction in her work away from fabric and stitch. She is currently exploring the process of right angle weave and uses old newspapers to provide the material for her paper beadweaving. These pieces are very geometric and hold less appeal to me fro example: ‘Standard Sea Curve’, ‘Standard Limpets’. ‘Standard Square’, ‘Standard Trinity’, ‘Standard Droplet’. Whilst I am really taken by the 3-dimensionality, the repetitive structure hold less attention for me: I think this is because I am taken by work that doesn’t reveal its whole pattern – that is not repetitive and allows me to generate narrative.
However, I am taken by the pieces I’ve copied into my sketchbook that seem more organic in form whilst still retaining and architectural feel. Whilst I am looking at these I am trying to discover what I can take from the pieces for my own sampling.
It is interesting, this afternoon I looked around for any metal at home that i could use and shape into curved edges – I found the bottle top pot. I punctured holes into these and then knotted them together with the blue copper wire. At first I though of a split ring form, but I liked the notion of knotting wire.
Ex3 sample 3:
As I started looking at pinterest tonight I noticed that my chosen concept echoed another artist to whom I was previously ignorant: Barbara Cotterell, in particular her piece ‘Deeply-Foiled‘. These 2 artists are connected through their association with the group Material Space whose formation is discussed in the second interview on TextileArtist.org.
This reiterates for me that to be fresh and innovative I need to be much more aware of the influence of contemporary directions whilst remaining true to my own authenticity. What is new to me in my creating may simultaneously be evolving in someone else’s mind and hands. The only way a concept remains unique is to be fully involved with my own process and materials but being aware of and alert to progress within the field of contemporary art.
I have worked on my favoured pieces in my sketch book – but want to make a specific reflection of the work ‘Cabal’. A cabal is a small group of people – often with the connotation of secret plotters. I didn’t know the title of this work until I tried to save the image to my sketchbook. This adds such an interesting element to the work for me. Initially it had recalled for me the writing of Tove Jansson in ‘The Winter Book’. In one story (semi-autobiographical) the young Tove puts a torch in the grotto within an iceberg that has drifted in close to the shore and she watches it drift off. The inner yellow of ‘Cabal’ made me think how that light must have been. But with the understanding of the cloak and dagger suggestions in the title of Andrew’s piece, the work takes on a shade of malice that is not in Jansson’s writing – though there is a darkness and coldness in her writing nonetheless:
‘It was so unbearably beautiful that I had to get away from the whole thing as quickly as possible, send it away, do something!’
http://www.textileartist.org/pippa-andrews-interview-part-one-textile-art-in-its- e.g. Satndard Trintiy. loosest-sense/
Tove Jansson, ‘A Winter Book’ (2006) Sort of Books, London pg 76