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Strata- cut, stitched, recut. Pieced together. Considering the action of time on place. I’m living an area of geological wealth- I believe the landscape around me contains over 90% of rocks found in the UK . A treasure ground for a pebble gatherer such as myself. I’m as yet undecided which side I prefer, im leaning slightly towards the side with unfinished edges as it alludes more to timeworn rock surfaces.j

I crocheted

the like lichen centres whilst walking in the countryside. I hadn’t realised how desperately I needed to be out and about in nature. I thought about the way that Barbara Hepworth and Polly Binns

Relate to landscape, the act of crochet was an act of marking steps, a form of communication with the place, a measure of being – like a hour glass. I joined the pieces at home, crocheting with silk like a Louise Bourgeois spider, i had in my mind a remembrance of Womb Room, a crocheted environment by Faith Wildling, I know little about her work apart from she was key part of the feminist art movement in the 70’s- very high on my list of artists to research further.

I thought to join the circles using a disorderly , lacy mesh-like lichen on rock. I realise that a larger hook would have given a more spacious effect,

This was the first constructed cloth, I thought that layering may give that soft definition between lichen and rock. The transition between things is and interesting place, day – night, hill-mountain, beach -sea . The piece looks very clumsy and unrefined. I tried to cut some layers in a reverse appliqué fashion, so had included different transparencies of fabric, it may work in other iterations, perhaps a much larger scale would help,

Fraying , and unfinished edges are pleasing though.

60cm of telephone cable, split half way and the inner wires woven into a bug. Telephone is bugged? The way bees communicate is incredible, we could do it better even with all our technology we fail. Insects are undeniably part of place, they are part of the circle of make and maintain.

Willow twigs and wool, and deep contemplation.

I think that this wooden strip is for edging birch ply to make it look solid. It was gleaned from my local scrap store. As a continuous strip used as a warp, it formed an awkward cylinder, by overlapping the strip at the join and merging the weft it forms an elegant almost basket. Using an ombré yarn has produced a very pleasing colour transition, I’m particularly pleased with this piece. I feel that it has a gravitas whereas some of the other experiments seem very forced and gratuitous.

I need to find a source for more of the strip but could play with creating more forms based on exploring this technique endlessly perhaps. I am put a little in mind of some works I saw in Turner Contemporary gallery by Eva Hesse.

A dumped couch was disassembled to rescue a spring warp, simply woven with a cotton weft. I was tempted to wet it and encourage rust emphasising the discarded element. This would perhaps feel too much borrowed from Alice Fox who works extensively with rust in her work. I do like rust though, I enjoy the richness of iron stains on rock faces and river pebbles.

Packaging plastic mesh from a carpet shop, with a binding tape weft. I’m really liking weaving- even simple materials seem elevated into elegance. An d the process is so engaging. I have been feeling very stressed and the weaving process is so therapeutic. In and out , round and round. Like time ticking, earth turning, it is present moment and strongly linked to the past.

Gathering. I used a food produce bag to gather things from nature. A foraging . Fragility of nature. A nod to plastic waste polluting the countryside. Some interesting metaphors to be found here.

using willow twigs as a warp and willowish tones from my theme as a weft. It may be interesting to use measured lengths of weft according to distance or time walking trails. I could look for proportions of colour in a landscape and use in colour block. The elegance of willow branches is well represented in this linear form. I could also soak in water for a day and this would make the willow flexible enough to bend into a circular form – with the opposite ends woven together..

I watched the video of Dave Cole knotting with the aid of diggers with very mixed feelings. First thoughts ‘knitting with man tools?what a gimmick. Would I have been happier with women in the diggers – I think perhaps not. I’m not a fan of gimmicky techniques to look at. Perhaps experiencing unusual tools with give me further insight into this .

Knit/crochet with unusual materials.

telephone wire and the cellophane that wrapped itin it’s black plastic casing – a handy tool to use later!

Crochet, very large hook. Incredibly thick felted yarn (not spun ) with incredibly thin industrial waste thread – I was thinking water splashing and listened to Kingfisher by Kris Drever. I will try felting this to flatten the knots and accentuate the holes.

Knitting with unconventional tools

Arm knitting. I have made a scarf essentially! Learnt things though.

I find such contemplative tasks soothing. There was a great sense of connecting with materials. Contemplated measuring. Time 1hr, loop size equivalent to my wrist – no one else’s..

Knitting a plastic bottle

P.E.T – fabric

Crochet with mod rock – far easier to crochet and then dip in plaster, a messy process has created a bone like structure- unintentional but often sheep bones are found on the Long Mynd and other hill areas- bones of the landscape…

Large scale knitting – plastic waste

I’m trying to source a bike tyre to use with bin liners to make a dream catcher – much hay bail covering ends up shredded in the hedgerows.

Based on that thought I made this hoop of broken dreams from a hula hoop and ripped leggings. It has a very different feel from the idea of the discarded farm waste. I find the narrative behind materials really interesting.

Crochet fence panel – washing line

Clearly not a fence panel! Like the plastic bottle this washing line is very springy and difficult to work with. Without taking it further this brings up the interesting considerations – when to stop a sample, how much do I need to learn from a process – is completion necessary? It feels that this assignment is about experimenting with materials rather than making complete products. In this case then the material has shown to be difficult to work with, adds to my dislike of unnatural materials and has taught me is properties. When I need a flexible resilient material I will know where to go!

hula hoop of broken dreams. Hula hooping ,referencing that energy and optimism of youthful festivaling, knotted with ripped and discarded leggings. This is a place in time rather than the original concept – I wanted to use black bin liners with a bicycle tyre, as a sad reflection of the amount of plastic from hay bale wrapping that around roadside fences – inevitably making its way towards the oceans.it would look similar however the material choice defines the context.

comparing the same technique, finger knitting with very different materials. Soft fluid silk, and hard crispy plastic. Both have a soft visual sheen and quite an energetic appearance. a very different drape.

Experimenting with unconventional materials and tools, my brain slid laterally into this combination of a tangled fishing line with knitting tools.

Nothing need be conventional. It felt quite forced , a little gratuitous using unconventional tools for the sake of using them. However I have learned that experience is far mor valuable that merely considering techniques or tools. The process of making, its repetition and time spent in that meditative state is where thought expands and ideas and understanding happen. Each decision made during the making process , from stitch to stitch, which way to wind a yarn around the twig etc is feeding into the mind bank of creativity.

Knitting – drift wood and river stick – river to the sea

Gathering. I kept the proportions of fabric and stitch size the same so there was a clear comparison between fabrics ranging from thick vintage linen to almost transparent manufactured fabric .

The translucency of this is fascinating, water-like yet also captures the etherial quality of the reflected light photos in found drawings.

In comparison this cotton weave sample is quite lifeless.

A stack of samples to build up. The volume.

I love the undulating lines of the side view of the vintage linen.

experimenting with parallel gathers, asymmetric, and sine wave, the asymmetric sample folds into a 3 sided pyramid, this may have scope for further investigation. I have a fascination with 3D forms.

Folding

Pleated fan, simple and obvious ,however the cotton organdie holds such a sharp crease , the motif folding heavy linen with the transparent fabric creates a meandering rhythmic form

This form actually was inspired by a fortune cookie. I saw in the shape the curved marks from the lichen drawings, the fennel seeds in my tea, I enjoyed the process of folding and curving the fabric. I find the transition from flat disc to curved 3D form fascination, a germination.

Layers

Organdie and transparent layers with a like tension inserted which stitches to encourage the layers apart.very effective shadows, this piece works better standing so that the light can pass through it.

Layering the dots from the first piece, I would have preferred to use invisible thread, this is a very light and airy piece – or perhaps soft and bubbling like a crisp cool stream tumbling down a rocky valley. The combination of fabrics works well, the composition is suitably un uniform, it has flexibility to be flat or more 3D

Rolling

Stretch fabric stretched forms a roll. Folded and stitched like rock styrations. Heavy – I guess this is suitable. I could experiment with lighter fabrics to compare, it is very representational but does not say much to me. Lacking narrative when in fact those buckled layers have immense history.

cut and rolled, this is incredibly delicate, like a spider leg hair under a microscope, I may be a bit fascinated by this fabric. The sample is simple in essence but quite lovely. I often have expectations that a sample needs to be complex, however it’s what is left out sometimes that makes ab effective piece.

Tolling- varying sizes of ripstop nylon- like foaming water

Crumple

organdie folded and cut, crumpled to crinkle , lichen like.

This makes a fantastic crinkle noise when crumpled. Laminated plastic and mesh (ironed)

cut and distorted

Cut and restitched

Both rock like, textural cliff face

knots work to create texture and shadows, adjust effects by experimenting with fabric and tightness of knot.

Macrame with ripped cotton makes nice hole shapesknotted farmers binding twine- often tangled in hedgerows individual strands joined to wire circle – a complete circle would be nice- I need to find more discarded string- this is a dilemma as I would rather not find string littering the countryside.

I enjoyed looking at the work of Rowan Mersh and appreciate his intuitive use of materials, also his seeming simple and muted colour palette which gives the beautiful intricate textures your complete focus, his works are complex structural surfaces with a sense of harmony, I’d love to invert then close up.

This little fan element – which hearkens to the ginkgo frottage were perfect to experiment with the scale, in terms of material the organdie is perfect as a sculptural material as it holds a sharp crease. The half size sample is a success but terribly fiddley to make, the twice size not quite as sharp , so less charming.

I chose a simple curved mark to make multiples. This unit uses tension created by creasing and stretching a stiff cotton interfacing circle. I created several successful iterations.

In Part Three you’ll start by using critical reflection skills to review your work so far. This process will lead you to identify a theme which you’ll use as the basis for your exploration of some different and perhaps new ways of working with textiles. You’ll create a varied range of experimental fabric samples, which you’ll have the opportunity to refine in Part Five. You’ll extend your knowledge of the work of other contemporary artists and designers through focused research into their ideas and working practices as well as continuing to carry out independent research, which you should evidence in your learning log.

As an example look at Manet’s Le Déjeuner sur l’herbe, then at Picasso’s body of works based upon this, from paintings to sculptures.

Research the following artists:

• Polly Binns

https://youtu.be/VakrWlKh5F8 this interview with Polly Binns and Anne Morrell at the time of their joint exhibition. At Nottingham castle in 2013.

Uses stitch as structure and mark making components in her work. Observes light and texture in the landscape.

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Serial Shimmers and Shades(detail) 1996, acrylic paint and thread on linen 185x125cm .

sparse, clean , airy, minimal

• Tracey Emin

• Hew Locke

ark 1994 papier-mâché, wood, steel, mixed media 4.57×3.35×1.83m

I love the scale of this, it’s the sort of thing I built from cereal boxes as a child – but huge, fantastical, escapist.

Hemmed in two

Cardboardfound objects, paint,wood. 2000, architectural escapist, fantastical.

• Matthew Harris and Howard Skempton

Colourful ,patchwork, lines, exuberant

https://www.craftscouncil.org.uk/articles/field-notes/

Field note is a collaboration with composer Howard Skempton. I appreciate the colour palate, the never boundary reminds me of how as people we don’t have defined boundaries but overlap with others in different ways

Motifs, lines, dots – rhythmic

• Michael Brennand- Wood

• Louise Bourgeois.

For each one, select four images that inspire or challenge you and put these in your learning log together with a short sentence explaining why you have chosen them. You may not like their work at all; if this is the case, try to explain why.

Do any of the works you’ve chosen share any of the themes from Parts One and Two? Are there any themes in the artist’s work that you share? Which works do you find most inspiring and most challenging? Record your findings in your learning log.

Now try to find out about the artists’ working methods. How do they ‘make’? How do they develop their ideas? Is it through drawing or some other means? Write around 200 words for each artist in your learning log.

Finally, select an artist who inspires you and who you feel is similar to your way of thinking and creating. This doesn’t have to be one of the artists listed above. Think about what impact this artist has upon you and your work. How might they influence your work in future? Write up your findings as a 500-word reflection with images in your learning log.

where has it gone ?

I’m so depressed it’s taken 2 days to do this and the content has disappeared, it was a real struggle and now it’s gone , there’s no time to do it again.

Before you embark on any practical work, write a critical self-appraisal of the work you submitted for Parts One and Two. You submitted a reflective account as part of Assignment Two but you now you have the opportunity to review Parts One and Two in response to your tutor’s feedback and to reflect upon the outcomes as a whole. You’ll also use the appraisal to help you identify what you feel were the strongest themes that emerged for you in Part One.

My responsive mark making is becoming more free, I created a range of subtle and sensitive marks relating to photos of place. My photos of found marks were very successful – feedback comments were positive. I can use my observational and composition skills moving forward to develop my work.

I identified elements in my drawings, experimented with iterations and the final outcome collage was successful in its composition and use of colour, I particularly feel that the frottaged elements of old lace that were cut and placed play a good homage to the age and texture of lichens that other elements were abstracted from. I keep coming back to this relationship/contrast between old and contemporary, for example in the piece relating to place in assignment one.

Stitched words relating to place resulted in a visually interesting surface, that was successfully frottaged. This way of embedding words in an abstract way is of great interest and something to develop further – combined with the idea of responding to words/feelings visually in the found drawings exercise perhaps.

My collage relating to the work of Marcelo Montreal is one of my strongest pieces. It works well visually however I feel that the success is more to do with the visual metaphors, looking at the image again I see a split between ancestral inherited traits/emotional baggage and self moving forward. Perceived and self awareness, there’s actually a lot of potentially powerful stuff to explore here….

Drawing does not need to be complicated. I’ve just removed my waffling justification . This is just a simple yet important learning. Don’t over complicate.

This collage may be clumsy however , I am interested in the layering and overlaying of landscape, archaeological layers, humanity vs nature, here I like the translucence of the trees and the bedrock of words. Strata is the concept that I could take from this sketch. My understanding of part one and two is that we were not to create completed works but to experiment with ideas . Some of the idea generating was painful, the hindsight that it gives is the important learning to take away here. Already with only a short period of reflection I can see how neural pathways are being formed. When I made this collage a very few weeks ago it seemed like hoop jumping, the reflective process is powerful. I am learning that I must just do stuff that can be reflected upon to find the juiciness.

I find monoprints give a really interesting surface, a fragility of line that is atmospheric and evocative – more so than drawing the same in pencil for example.

I am excited by this drawing of place described by capturing the paths of birds in my back garden. It has a great energy from the dynamism of the marks.

This representation of a journey is unresolved and I didn’t fully explain the concept of the branch from the place representing the route that I took. With the addition of the extension loop it is the same shape as the route on the os map. The route is way marked with totem poles, banded with colours for different walks, the stick is wrapped in bands of colour representing the ordered houses at the beginning, The Tudor period and then slowly becomes less uniform following the stream up the valley and back in time. The dyed cloth represents the valley in a more abstract way. My sketch book explains the feeling of peace the higher up the valley I climbed. The cloth will be grid like and dark like an OS map slowly loosing its formation and becoming lighter, airier and free.

work inspired by research into artists that cross boundaries . I produced this work very much based on place, using found materials.

This task is your opportunity to demonstrate, in a piece of succinct and focused writing,

both your learning and your self-awareness of your achievements. Ordering your thoughts in a structured way will help you start to develop a personal language that can sit alongside your practical work. This will enhance the writing in your learning log and build through the following projects to prepare you for writing your critical essay in Part Four. In your critical self-appraisal, as well as general comments upon your performance, ask yourself some specific questions:

• Which of the themes extracted from the de Waal article had the most personal resonance for you, and why?

I feel that in part one And two the works based on place were where I felt most comfortable, even gravitating naturally towards place in the first task. Reflecting back to MMT this is a theme that I kept returning to. I am fed by landscape.

• Was this also the theme that produced the best outcomes?

I certainly feel that these were the most engaging outcomes, although I had fun with the exercise with words in part one and my last outcomes working with text in part two were also pleasing. My most exciting piece was mapping bird flight in the garden, clearly place related and the concept I would like to take further.

• Which body of work stretched you most in terms of thinking?

I was flummoxed responding to music. I found Parts one and two quite frustrating. On reflection I can understand how elements will be invaluable moving forward however in places it felt like those times as a small child when you were asked for an impromptu performance of something, awkward and (that word that means you feel turned to stone) for example, work in response to music – in my research for 3.1 I found that Micheal Brennand-Wood chooses a sound track for the day to work to and be inspired by. This is what I often naturally do, I have a huge collection of widely different musical genres that I choose to suit my mood or task, how ever in the context of the task it felt forced, and atrophied my mind. I have often noted sounds as I walk and gather , I expect now I will note these things more. In terms of an exercise though, my work was severely lacking, my reflective outcome is richer and more useful.

• Which body of work stretched you most in terms of making?

I was most stretched working out how to respond to a personal routine, I not done much manipulating of photos before, I was reasonably successful with this task.

• Which body of work did you enjoy creating the most?

I would be torn here between the Work based on identity and labels collage work in part 2, boundary crossing piece in part one and the works based on place- particularly the bird piece and wrapped twig.

Finally, select one of the themes from Part One for further development in Project 4, together with what you feel were the key pieces of visual research from Part Two. Explain your reasons for these choices.

My reflections on artist research, point me to an investigation of my place in the landscape – I wouldn’t be able to clearly define where we separate, my being is spun from tiny everyday connections to my environment. identity is place, investigating where I am now compared to where I’m from – both physically and ancestoraly . My key pieces of visual research will be the found drawings and frottage combined with further investigation of mapping. I’m interested in the interview with Polly Binns her work is site specific but is more about her response to the Norfolk coast, than of the coast, this is similar to Jessica Warboys work with the sea and also of Barbara Hepworth walking of the landscape, their investigations of materials are fed by place but not dictated by it.