Reviewing materials and processes.
Having read through this entire project I’ve found that the lines between each stage are a little blurred. The workshops I’ve completed in stage 2 encompass some elements from stages 3, 4 and 5.
Here we are looking at shadows, illusions, distortions, layering and combining samples. We are also asked to make notes about our emotional response: are they evocative, mysterious or magical? Do they suggest fragility? Etc..
Many of the workshop posts already show different lighting effects as it seemed inefficient to finish a piece, photograph it and put it away, only to have to get it out again to re-photograph it in different light conditions. It made more sense to do this all in one photo shoot.
Comments and further work on some of the samples are below:
Workshop 2 – The knitted net using cassette tape and white plastic bag strips was a complete surprise. The mounting, lighting and photography have given it a feeling of drama. I’m particularly pleased that I knitted in quite a random way creating an organic flow rather than a formalised structured piece.
Workshop 3 – Once more I used a reduced colour palette hoping to create a dramatic piece with sharp shadows. In workshop 8 this grid has been referred to again in connection with one of my organza prints. It relates very much to an office building facade. It has a feeling of mystery to me (probably not to anyone else). What is behind, or inside, those squares? Are they windows? I’ve been down this ‘window’ route before, in my last course I think, so it’s obviously something that is a constant question for me.
Workshop 4 – As I wrote at the time, the Nishi building (I think I have more to post about that structure yet) was the inspiration for this. The finished sample evokes absolutely no emotion in me at all. I neither like or dislike it but what is interesting is the shadow play when the wind is blowing and I’ve uploaded my first video attempt to try to show this. It’s not the best quality but it’s better than nothing. I should have moved the whole thing over so that I got the moving tree shadows as another layer. Next time.
At this point I have no desire to push this idea further or develop it into something larger and more complex. It’s the shadow that attracts me.
Workshop 5 – I had no idea before I started that the laminator would prove so troublesome but ultimately produce a large body of pieces that I was able to develop into more complex structures.
The 6 small organza squares were laced together into 2 sets of 3 and hung with different light conditions.
1 – No sun to speak of. 2 – the sun was behind the photographer giving a solidity to the panels. 3 – the sun was in front of the samples creating a little translucency but not as much as I had anticipated.
The laminated organza crosses were combined with the fused fabric circles from workshop 6 and a machine stitched structure was formed on dissolvable fabric.
1 – finished piece pinned to board. 2 & 3 – the light is behind the photographer giving a solid view of the work. However, as it moves, the light picks up different reflections from both the laminate and the trapped fabrics. The crinkled laminate – where it got stuck in the machine – has added a nice touch. 4 – the light is in front of the work, shining through it.
The piece has a feeling of fragility as the stitched joining lines are very thin and hardly visible and the laminate adds to the effect. What emotion does it evoke? I’m not sure but it makes me smile. This isn’t something that is within the norm of my creative life so it’s a bit of a novelty. The green cones work well even though they are small and barely register. Perhaps they should become an art work of their own. Now that development intrigues me.
Workshop 6 has been extensively covered in the original post. Lighting effects, shadows and translucency have all been documented in full. The final sample (with the straws), along with the dragonflies from workshop 7, is by far my most successful. It will be documented as something I would like to develop further, making it larger and more complex. Each square, on the sample, is 4″x4″ which leaves little scope to add further work to the surface. If it were bigger I could add many more stitched holes/circles and thread straws of differing lengths between them. It would allow me to add plain black and plain white straws creating both darker and lighter sections. Straws could be bound where they cross adding another dimension to the textural aspect.
Workshop 7 & 8 have been combined to create the following layered and lit outcomes.
Colour was then applied to the stencil with pencils.
Lutradur work piece with printed organza – reflected window design from workshop 8 – overlaid. The piece has been pinned up with the organza sitting 2.5cm forward from the work. I found that this maximised the amount of underneath design that could be seen as the light penetrated the layers.
Workshop 8 solar plate printing.
This set-up gives each layer a spider-web appearance, a very ethereal quality. After this course I’ll probably frame it with the top layer off-centre as shown.
I have generated a variety of works, from the very solid to the filmy and fragile. Some things work better than others and some appeal to me more than others but all demonstrate an interest in exploration and most encompass my own personal vision.