T1: MMT; Pt2; Pj1: Ex5

Forming corners and angles

I’ve been playing this exercise over and over in my brain since very early on. I don’t know why this intrigues me.

Tonight, I wanted to start with some large scale drawing of sample from ex 4 – namely the stone sample. Taking a 1.5″ brush, some pink acrylic and a biro and then a very fine paintbrush I got stuck in. Working at A2 size:

I have noticed that I seem to be attracted to a wiry line that connects washes of space/colour/material.

Taking this further I wanted to push the painting and gesture of this sample, rather than be taken simply by the line, so I grabbed to large brush again and some blue-black ink:

The close-ups show the movement that seemed of most interest to me. I am pleased with how the brush whispers out the line and offers definition without division.

A wash of pink acrylic, then wet on wet ink:



As this piece dries the process of chromatography has started. Whilst I cannot hold the wet, the photos allow me to. I added drips and flicks to recall the sea, the perforations in the chalk and the impact of water on chalk – eroding the holes that make those hag’s eyes.

After this I felt ready to make some sample for the new exercise.

Sample 1:


Cardboard packaging joined to pretend leather, both surfaces hole punched (I am pleased with the way the punch-outs on the ‘leather’ are left stringed and hanging). I laced them together with the craft wire. I have been considering this join in my head for a while. Creating a corner by joining the opposite side so the corner, the join, the seam is made opposite from where the join occurs. The wire offers solidity, and is a simple stitch. The two materials take their own angle and find a compatible resting point.

Sample 2


To contrast I made some felt using the plastic bag, soap and hot water method: intense rubbing, then rinsing in cold water. This made the base fabric. I have been thinking about piping as a method of joining. I’m not quite sure whether I’m creating corners. should I have three surfaces that meet at a point rather than 2? I think to me the corners are the edges of the joins. I was satisfied that the piping (twisted raffia needle felted into a seam) maintained the angle allowing for some cornering – then again is a corner a turn? Am I meeting this exercise or mis-interpreting it?

With this worry in mind I moved on to sample 3.

Sample 3:

I chose to work with accessible metal: bottle tops, and worked on creating corners with rounded pieces – aiming to join three surfaces. I then played at considerable length with all the possible arrangements this simple trio in repeat could create. There was a ladder feel, a spinal feel, a sculptural balancing effect. Different angles and shapes were created by different rotations of the base form.

Finally, I felt the spinal construction held most interest. I went back to use the craft wire as my sewing thread. Remembering the notes said not to be afraid of using gluing as a joining device, I put on the glue gun and drizzled glue liberally over the piece. This was a satisfying process and has created a cocoon-like, web-like sample. i can imagine this piece extending in every which direction:


I find the contrast between shiny metal, smooth metal, toothed metal, coloured bent wire and globulous glue quite intriguing and full of potential. I love how the heat gun has some control but a lot is left to accident.

I’m itching to weld some corners, but the day job interferes…

5 thoughts on “T1: MMT; Pt2; Pj1: Ex5

  1. I think the MMT course was actually written with you in mind, Lottie. Never expected to see bottle tops, felt and mock-leather all in one exercise – breathtaking creativity.

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  2. (Oops pressed Enter too soon). I agree about the little tabs left by the hole-punch; they kind of draw attention to the absence or hole. I like the soft undulating ‘corners’ of the felt sample and your metal bottle-top ‘cocoon’. Exciting to imagine all of this translated into welding.


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