PE Task 2. Context.

My work exploring the word 'Phygital' has been entrenched in metallics, foils and the relationships between contrasting fabrics and alternative materials. I have been inspired by the Metallic trend within menswear, seen throughout the S/S 14 collections. Through statement pieces, metallic has crept back into modern fashion textiles; designers have been using subtle balances of OTT statement coats adorned with foils, metals, and plastics mixed with more accepted natural tones and fibres.

This leg of the rotation I feel I have developed a good understanding of my materials, and feel I have an interesting concept behind my work. The tactile world of the physical meets the digital screen with combined elements of slashing, foil bonding, entrapment of threads, and succesful use of the satin stitch to recreate the sense of meandering cracks through the fabric.
 This piece by designer Antonin Tron used copper, gold and bronze embellishment to produce the key piece of his collection. I see this piece quite similar to my experimentation with the shards of acetate and foil I stitched together like futuristic scales on the contrasting feel of polysuede.

The work of designer James Long also caught my eye, matching subtle greys with metalic blues, and shimmering knits, Long's pieces have both block metalic embelishment and more spontaneous embroidery, similar to the wires and cracks I have been recreating.

James Long, S/S13

acetate, felt, foil, satin stitch, with elements of slashing and reverse applique 

 I could definitely see my work in a fashion context, perhaps more aimed at concept art within fashion.  Similar to the practice of Soo Sunny Park, who uses metal and glass in art direction. Her sculpture Capturing Resonance used wire and plexiglass to capture light and explore the relationship of material and space. Her beautiful structures shimmer as the light passes through creating impressions and reflections all around the space. This influential practitioner further pushes the boundaries, with similar material manipulation but on the body.

 I am very much interested in how textiles for the body can also relate to the space around us and what influence our materials can have on the light and spacial awareness of our surroundings. The shine and glass of metallics and tactile ground fabrics I have used explore the connections between digital technology and physical touch. I have very much enjoyed these last weekes of embroidery, and would perhaps be interested in carrying these ideas and skills through to a more mixed-media approach in the future so I can further investigate qualities shared and opposed by the physical and digital as technology becomes an ever growing part of textiles.

P H Y G I T A L

Kineticart art fair

I was quite stuck between my choices for the final 3 weeks, stuck between mixed media and embroidery, but decided embroidery was an area I wanted to consolidate my skills in at this stage. To continue on the Sampling unit we were presented with a list of words to select to inject to our projects to spark a bit of life again or find completely new inspiration. I chose the word 'phygital' as i felt it was one of the more obscure words to which I could mould my own definition. My initial thoughts and intentions for this word are to explore the qualities that contrast and connect the physical and digital worlds. Opposing qualities of cold, shiny, lifeless plastic and metalics, with tactile, visceral reality. Opposing fabrics and materials could work very well together, and the idea of the 'Touch' screen interests me. Funny how something with 'touch' in its name doesn't actually present our touch senses with any physical interaction; this got me thinking about how and when would a touch screen actually deliver us something to get nitty gritty with. The cracked i phone screen may be one of modern days societies worst nightmares and inconveniences, but I am interested in exploring how I can recreate the qualities found on a cracked screen, following the grooves, bumps and canals of glass shard. 

Initial experimentation with turquoise pvc, iridescent foil, netting, wire and french knots. 

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

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.