Unit X - Reflection

This project (although it has not finished completely for the Pop Up groups) I feel has been a completely new challenge for myself. Working in a group for 6 weeks, with a refined outcome in mind has been stressful, exhilarating and rewarding for all of our practices. I feel that analysis within a group and establishing roles has been an intensive learning curve for my own creative practice and work ethic. I have learned so much about myself in terms of how I work through physical experimenting both 2D and 3D to digital manipulation on Photoshop.


The broad nature of this project has enabled us to 'dip our hands in all the pots' so to speak, as I have experimented with structure and scale briefly in a mixed media medium at the beginning, and then through embroidery, print and decisions of what context our work should fit. Digital printing has been exciting, and I am now currently working on the finishings for the bandanas as well as some subtle embroidery applications to add texture to our already vibrant bandanas. It will be exciting next week to see how we work as a group in the final stages of finishing products and curating our pop-up space in the Unit X exhibition.

bandana test

bandana test

From this project I have become much more aware of the importance of finishing and the decisions of colour balance within a collection. Time management is key in any project, solo or collaborative and this is something I must work on to ensure I have time to fix any uncontrollable mishaps which are bound to happen with the nature of life. I am proud of the work I have produced and may potentially develop my work with the bandanas further over the coming months.

Unit X - Refinement - Week 6

digital print cost sheet

This week we finalised our collection of prints by carefully selecting work which we felt created a balanced choice of colour. I have not had the opportunity to digitally print at MMU before, so it has been a learning experience for myself in how the digital print system operates. We spoke to Colin before printing about colour formats and calculating the shrinkage equation we would need for our cotton prints. We initially sent a strip of small test prints of a variety of images to check if RGB or LAB would print best. LAB came back the most vibrant.

4m of digital prints

As we wanted prints at 45cm x 45cm we printed them at 47.75cm width and 46.85cm height. Since we generated Photoshop images at 45cm x 45cm we then had to distort the image slightly so it would shrink to the dimensions we wanted. The prints have come out well, but on 5 of the squares there are unsightly, noticeable red lines from the printer. We asked Collin about this and asked if it was possible for a reprint; he wasn't that helpful about it, but finally agreed to reprint the 5 images just at the cost of the fabric. We are disheartened by this as it was the machines mistake which we are having to pay double for now and still awaiting completion of our 24 bandanas. In future these are factors I will have to consider when printing, and giving myself more time for printing would be wise.

We have started thinking about finishing and as I'm inducted on the over-locker, tried out both the 4 thread and 3 thread machine. The 3 threaded machine finishes much neater which we think looks much more refined. I have been playing about with different coloured threads opposed to just white which I think ultimately make the bandanas pop, and the added colour is more playful and youthful. I hope to try out the baby over-locker next week as I think it will give a much cleaner finish.

overlocked finishing

Unit X - Lines of Enquiry

As a group we were feeling generally confident and excited about our exploration with sellotape as a medium and our development of a concept, but after the studio crit session our choice of material and overall refinement of the space was questioned. Julie thought it was an interesting idea, but fails to work as a finished product/space; any one can play with sellotape, and at this stage in education we need to use Unit X as an opportunity to consolidate and develop our own skills and individual practice. This has resulted in a complete reevaluation of our medium, concept, and what we want to achieve as a refined end goal. During the drop in session with Julie and Mark we discussed possible ‘products’ we could aim our project towards to get some sort of direction. They emphasized the importance of developing our own personal practice, and as I have enjoyed working with embroidery and surface texture in the last unit, Georgia and myself will work towards some form of ‘cloth’ or ‘scarf’ to exhibit within the structure that Daisy and Hannah will produce. Now we have clearer roles I feel like we can progress as a group.

colour sheme

By Week 4 we were still confused about our overall end goal and direction, although a colour scheme and theme of DNA and the human body as a landscape were quite concrete. After an intense studio crit with Julie and Rianna we were challenged to really question our direction and 'get our asses together' so to speak. I suggested to the group we move away from an art/gallery context as none of us have much experience working in that context, and lack the time and process needed to develop a clear meaningful concept and reason for the art. Julie had previously suggested working towards a piece of cloth and we permeated this by deciding to focus on developing a space to exhibit and possibly sell a collection of digitally printed and embroidered bandanas. 

paint experiments

Following the 'hot mess' of the last crit we seemed to have a break through as a group. I am now concentrating on generating graphically interesting images based around the idea of the visceral, organic and permeable. Our previously selected colours of blues, purples, turquoise and pale pinks work really well when used in the idea of the human body landscape. As it is a collaboration of work, Georgia and myself have swapped images with the intention of developing the other's images in our own style and vision, therefore making the prints generates a true collaboration. Im not sure how much of my work I see in the other print ideas, but I feel like I have truly incorporated Georgia's imagery within my work. Extensive experimenting on Photoshop has been a challenge but I feel like Ive really pushed myself to improve my skills in a textiles area I have not been inducted or educated in. I'm enjoying digital manipulation towards print and could be an element which becomes a part of my embroidery/mixed-media practice next year. It was also interesting to see how Georgia and I differ in our approaches, as she works digital then physical, where as I enjoy developing work physically first and then refining on digital. 

This week I have also experimented with some possible embroidery/embellishment ideas. Working firstly on acetate and paint to echo through our groups selected material, and another piece using hessian and paint, the rough textures contrasting with that of the slick acetate. 

Unit X - Research Context - Studio Toogood

Agender promo material showcasing abstract sculptures 

My research into 'the pop-up'  has pointed me in the direction of many artists and designers who utilise the element of 'pop-up' to cause a stir, or get the sudden attention of the public. My attention fell on one pop-up experiment taking place in Slefridge's in London at the moment; a pop-up fashion store, 'Agender' are sending art and fashion enthusiasts everywhere a bit bonkers, and the studio who developed the aesthetic and installed the interiors are masters of shock within fashion and textile trending. Studio Toogood is directed by London based designer Faye Toogood, and specialise in high concept interiors for creative projects and companies through out the creative world. Their involvement with unisex clothing experiment 'Agender' is visceral and superbly done. Inside the store sit voluptuous, abstract sculptures reminiscent of flesh and human reproductive organs.

Pop-up store, Selfridges, London

“In order to move forward I felt like I needed to look back,” says Toogood. “We are all flesh and bone. I wanted to find a primal palette of materials that explores our individual needs and desires despite our gender or sexuality. On the first floor there is pink latex and rubber like flesh, and on the second floor there are bones - tar; mud; horse hair and concrete.”

I love this approach to homogenise the human body, and move it away from male and female into an abstract mess of 'human-beingness'. The organic shapes are inspirational and I love the tones of pink and purple matched with yellow ochres to 'degender' previous conceptions of colour and sex. High concept interiors for fashion/textile promotion is a possible context which our pop-up could fit into. 

Fashion installation by Studio Toogood

Unit X - Research - Week 2

This week began with a trip to the People’s History Museum as part of our Archives research. I found the excursion very interesting as Ive always had a love for history, yet, similar to Blackpool it was quite difficult to gather information. Most of the exhibits were literature heavy, but I found myself spending a majority of the trip on the ‘Banners’ floor. Naturally, as a textiles student my mind is orientated to fabric and colour; the collection of political and protest banners in the museum is awe inspiring to any practitioner of fabric and any human with a social conscience. Banners from Labour campaigns, to Miner strikes and LGBT issues got me thinking about the depth ‘cloth’ can reach. Cloth can be a key tool in social change as symbols and colour can entice inspiration. The monolithic curtains of fabric also got me thinking about how cloth can be used to dictate a space, and how we as people interact and utilize a piece of fabric dependent on its established context.

Worker Union Banner

Tuesday saw us gather as the Pop Up Class where we each had an opportunity to present our ideas with the intention of establishing groups. I was very much inspired by the D.I.Y. culture of DJ Dave and was inspired by the work of artist Linder Sterling, and using quite unconventional materials to create our space. After what felt like a chaotic session of 'speed dating' our groups were established. I feel the whole process of making the groups was very haphazard and quite ‘cliquey’, however we have a strong group of talent as I have been in these girls class all year and although we each have very different styles, approaches and interests, we know each others strengths and weaknesses, which should come in handy for working collaboratively.

DIY research, mark making and possible asthetic

We hope to achieve a space that evokes a sense of comfort and safety for the audience. We are currently developing ideas potentially for a gallery context with some form of interactive art, which engages the viewer. We agree that we want the viewer to leave something behind or take something from our space; perhaps a trade of some sort, physically, emotionally or spiritually.

sellotape experiment, web

sellotape experiment, structure applying roll of tape on to itself

Engaged in the idea of something being left behind by the viewer, we have been looking at absorbent structures such as sponge in the hopes our space will absorb and then keep something from the viewer, in turn changing the overall piece with each new visit. We have began playing with Sellotape as a possible material to construct our space as it is sticky and very cheap. We are playing with the idea of a fingerprint or piece of hair being left or entrapped on the tape by the viewer, leaving a piece of DNA behind and therefore creating an ‘Archive’ of our own.

Unit X - Research - Week 1

To kick off the launch of Unit X we visited the ‘sunny’ seaside resort of Blackpool as a year group. This marked the beginning of our research, and was an opportunity to gather resources alongside our fellow peers. Overall I found the trip quite uninspiring; Blackpool was slightly drab and dead, and I struggled to find much visual information I would be happy to get my teeth into. I still took photos of as much as I could knowing that on reevaluation of the images something could pop up which inspired me. The highlight of the trip however was found in ‘Treasure Cove’ (a tacky, garish amusements arcade), amidst the flash and jazz, a vintage style fortune teller ‘Zoltar’ struck my attention. After a few sneaky snaps and a reading of my future (for a mere £1) I was on my way back to Manchester. I don’t think Blackpool will influence my Archives project, but I am interested in the Zoltar machine.

As part of of the launch of Unit X, we had the opportunity to attend a series of ‘Inspirer’ talks, two speakers in particular got me thinking about the potential of our practices. DJ Dave Haslam was the first; telling us about his exciting life at the forefront of the Manchester rave scene during the 80s & 90s, he is an advocate for living life ‘out on the margines’ of society and the importance of young creatives, sick of spoon fed mainstream culture, to seek out and create our own hidden gems. Our maverick nature and D.I.Y. approach are our weapons. The second was Sally Denton, a trend forecaster, gave us an intriguing insight and perspective of ‘trends’, how global and social change are what are the catalysts for trends within textiles, fashion and art. This has got me thinking about the potential of our ‘pop-up project’ and possibilities of ‘Trend Forecasting’ for the future within my own practice.

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.