'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

Knit week 2

I am understanding the hard labour of knit, as each technique we learn takes more and more time. I feel I have grasped a better understanding of the machine, and developed technical skills in stripe, tuck, and ladder affects, yet I am still frustrated by the amount of samples that have fallen off the machine. 

I'm beginning to think knit isn't for me, I feel limited in how we can translate our research and despite going into knit in every session and on days off they keep falling apart. I can't seem to grasp the techniques, but shall perceiver for my technical file. 

Knit week 1

 Our first week of knit has been an intense introduction; for the start of the week we had to compile a mood board for construct, meaning we have something to base our work off of and jump right in. I have been drawing to the colours and qualities of Ancient Egypt, especially the tones of tourquoise, ochre and crimson together. As I have been doing research,  I have seen connections between the work of abstract artist Rothko, and the importance of colour symbolism in Ancient Egypt.

The knitting has been very fast paced, and as there are seemingly constant tutorials from Sue and Amy time management will be key in knit. I have enjoyed the sessions so far, yet I can feel myself getting quite frustrated with the act of machine knit. I do not find it easy to translate my research (other than colour) into construct, as I am much more figuratively based. 

Contextual Research

Kevin Kramp is a high-concept knitwear designer pushing the boundaries of menswear knit. The mix machine and hand knit, of unorthodox shape and colour, with exciting stitch style, Kramp's maverick designs mix both ideas of the modern man, with a heavy nomadic boho influence. Contrasts in colour and texture make you almost want to touch the computer screen in the hope to feel the luxury fibres of his work. 

Research week

This week I visited the Manchester Museum in order to gather visual resources for the coming project. As we were asked to consider our journeys and how we can record them I made lists and collections of data of my own. Firstly I used a pedometer app on my phone to map out my journey throughout the day, by screen-shoting the maps I then further investigated possible line qualities from the images. I was also struck by the distance I had traveled, from Withington through to the first half of my museum visit, which was '5.47miles'; there after I used '5.47' as a 'limitation' to work with, using a time limit of either '5.47mins' or '54mins 07secs' to draw and develop some visual recordings both in the museum and at home.

I found the shorter limit forced me to work quickly, gathering key impressions and qualities which caught my eye at the museum, whilst the longer limit allowed me to reassess my research at home, and both develop and abstract form and colour in different ways.
On my way to the museum I made a list of every establishment I passed, attracted to the colourful shop fronts, although it all had to be alphabetical. Work from A to Z is quite manageable with words, but I then decided to apply that to my journey through the museum as I had no clear direction of what sort of animals/objects/qualities I wanted to look at. It forced me to consider exhibits I would otherwise have ignored. Therefore all my time limit drawings were also limited by the alphabet sequence, up until 'S', when I discovered the Ancient Egyptian Shabtis. I am drawn to the etherial turquoise of the clay ornaments, and interested in compiling a colour pallet based on the colours of ancient Egypt.