Embroidery week 2.

 This week we have been allowed to introduce some colour to our work, and i think the crimson and turquoise work well with the blacks whites and greys. I am continuing to use reverse applique to play with geometry. The sample above uses reverse applique to highlight contrasting textures between the matte turquoise plastic with crimson polysuede and grey Holland linen.

'Before You're 30' Talks - Alice Kettle

Yesterday I attended the BY30 talks which my friend Jake helps to arrange; they are monthly talks with 3 influential speakers within the arts having 3omins each to give a talk about their work. This month the talented Alice Kettle took to the stage to talk about her process and inspiration. Mythology is a recurring theme in her work, and it made me think about the narrative that can be considered within our embroidery work. Paul Klee famously talked about 'taking a line for a walk', and Alice talked about the connections between the line and the linear sequence of a story. Lines create something tangible and visible; everything starts with a line.
Kettle studied as a Fine Art painter, but smoothly transitioned to textile art postgrade in Goldsmiths. Although her work is stitch, you can clearly see how her background is in paint. The element of stitch however gives her the added bonus of relief, material and reconstruction, adding to the theme of narrative and myth within her tapestries. She is able to compile and construct stories metaphorically, visually and physically.
Her work is of the utmost figurative, which really resonates with me. I enjoy bold figures and graphic line in my work, and find her work refreshing and an inspiring view on stitch art.

'The Golden Thread'

Negative space

 On our recent Friday drawing day we were working within time limitations to draw 'blind' a selection of objects on the tables for us. Kate wanted us to think about how we hold and move the pencil when we draw, and how we see the object by making us draw without looking at the page in a series of different ways (lighter, heavier, quick, slow). The final drawing of the day was a compilation of various blind drawings which we then had to block out the negative space, changing how we would perceive the image. Although the sample and drawing on show do not necessarily have immediate connections, I feel that the drawing exercise has informed me on notions of positive and negative, which I then developed through this checked fabric I found, blocking out alternate lines with the contrasting colour.

Embroidery week 1.

I must admit, the prospect of embroidery a few weeks ago made my toes curl and insides cringe; in my assumptions I thought embroidery belonged more in nursing homes and car boot sales rather than an art school, but it just proves not to judge a (roatation) by its cover! Beginning embroidery my misconception has been shattered. From the previous students work Kate showed us its clear now the contemporary style creative embroidery has, and the potential of 'taking a line for a walk'. After brief tutorials on the Bernina's I have began sampling for this section of the unit. I feel like my drawings and research go quite well with embroidery as I enjoy marks and figures.

Black nylon applique on white wool. Bernina straight stitch and hand embroidered french knots

 Kate asked us to produce a series of black and white samples, challenging us to focus and develop on line qualities and get used to the Berninas before introducing colour. I continued on with my interest in ancient Egypt, but more in the linear properties found in ancient Egyptian hieroglyphics and the contrast of organic figurative markings of rocks I saw at the museum, playing with the flow of shapes and using applique, reverse applique and stitch to obstruct or promote movement in the piece.

reverse applique, white felt, white organza

figurative drawing of pharaoh, straight foot, chording foot, and freehand foot on grey Holland linen