T1: MMT: Pt4; pj 1 lost count…

Some things just won’t go quiet!!

I feel really excited today – I feel I’ve earnt my first art trade! Thank you to Nina who read my tutor feedback and has generously traded her copy of Sara Impey’s ‘Text in Textile Art’ in as she puts it ‘a fair trade’. However, being a fellow textiler the package came with gifts of fabric too. These had to be put to use immediately and as they were drying I got stuck into reading (thank goodness for Iceland pizza – all fed and watered with barely a moment from the page).

On pg 9 Impey writes:

‘Artists find that text-based found objects are ideal vehicles to articulate personal or collective memories or to highlight issues…’

So, the bloody pieces continue to evolve. This is where I was at last night.


With Impey’s words in mind I played with creating another similar assemblage but wondered what would happen if I placed it? This work originated from the green heart print – what would happen if I removed the heart form and placed the ‘blood’ print in the location of a heart. The dummy was to hand this evening:

To start, I placed the acetate, dictionary layer straight on the form, then with white materials behind (this looked stupid – no other way of saying it- like some hideous corsage or napkin). So, then I found an extra large bandage from one of the first aid kits and wrapped the form imagining a wound being covered – bringing into play those ongoing concerns of hurt, harm, wounding, healing, scarring… but it all felt very contrived and daft.

I took a step back to consider – if this work represented some kind of internal wound that I have sustained what is it and where would it be located. Thinking bodily my hand instinctively clasped around my belly as if I’d been shot (I think this is the location of the solar plexus?) but to me it is my core. This is where you’d be punched to sustaining that winding feeling isn’t it? Thus this seemed a more truthful place to visualise the invisible layers of hurt/harm.

The dressing (as you can see I am no nurse) creates a corset bodice. I am not yet sure what this is saying, but in a slightly disturbing way it seems quite beautiful to me…? (Perhaps Inger, this is with your words from the forum as there being a sense of past).

The acetate is very difficult to photograph so using some of the new materials from Nina I’ve made up some samples that are now drying. I have posted this on instagram hashtagging it with domesticviolenceuk’s campaign #lovedoesnthurt – using my art, and the text behind (which is a page ranging from ‘hard’ to ‘hardly’) to support and highlight the issue. I think if I were to argue with the campaign I would ask for the word ‘hurt’ to be changed to ‘harm’ because real love does hurt me. I’ve had to learn to trust. This is frightening. Fear hurts. But to heal I have to learn to trust and to love. As for the love we have for our children, that Does Not Harm, but gosh it hurts sometimes. My elderly neighbour used to say: as babes they weigh heavily in your arms, as they get older they weigh heavily on your heart.

Drying samples on new materials to me, again same print process as before. Can’t wait to see what next with these.

Finally, there is only so much blood a girl can deal with in one day… so I turned to bruises (cheerful soul aren’t I?). Not managing the right mix of colour on the print plate yet…

As Impey directs, are these pieces ‘inviting the viewer to look beyond the surface’?

3 thoughts on “T1: MMT: Pt4; pj 1 lost count…

  1. I like the bloody sample against the stomach; would make an interesting piece fully stitched into a bodice maybe. The colours of the bruises are stunning, maybe more subtle than the blood. Certainly, yes, making the viewer look beyond the surface. To discern the text on the first piece, partly, and to interpret the form.


    1. Part of me is thinking that the wound ought to be on the inside with the outside looking pristine… but that’s a whole other kettle of fish to boil!!


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