Part 1 – Sorting, evaluating and reviewing

I  began my sorting exercise by collecting together the samples that I felt were the most interesting or provided the best source to develop further. Here are my selected samples:

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Crumpling – embossing egg cups, This sample worked really well and has quite an exciting texture to it. I would like to be able to re-create it in fabric or perhaps use it in more of a sculptural way with a hard material. It may also work well left as paper but stiffened in some way.

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Moulded over objects. In this case the crumpled paper was moulded over a roll of brown parcel tape. This sample reminds me of a rough gnarled tree and as such could be developed into a hanging of some description coloured and embellished to enhance it’s bark like qualities.

Of all the crumpling and pleating tecniques I tried during these projects these are my favourite three results. I particularly like the rotationally pleated sculptural forms. I ended up with a visually & textural exciting samples that I would like to investigate further especially enhancing the pleats as I did in the third sample below:

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Rotational crumpling – spiral ribs

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The way this sample folds and curls reminds me of a conch shell. It might be interesting to look into this aspect of the sample in more detail.

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Rotational crumpling – sculptural forms embellished with stitches.

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Two layers of carrier bags pressed for a little longer so they started to melt a little. I was very careful to insure that they did not start to burn. I like the texture achieved on this sample. It is ripe for stitching into and perhaps melting further.

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Taking the layered idea further with more layers and shapes cut and manipulated to create line and shape in the sample. I feel that this sample would benefit from some areas being cut out and others added to with stitch or applied shapes.

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A bubble wrap and carrier bag sandwich containing found items. I like the way that the pink carrier bag has taken on the bubbled effect during the fusing process. I found this hard to achieve again.

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I really like this sample layers of carrier bags were fused together and then pleated and pressed to create extra texture and pattern. It is something I would like to try on a larger scale. Perhaps in a similar vein to Anna Kyyro Quinn’s wall panels

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Combining different ideas makes this sample interesting in pattern, form and texture; strips of carrier bags were laid over bubble wrap in a grid pattern, fused and then pleated and pressed to make the pleats permanent. Again I really like the feel of this sample and feel it could work well as a larger piece.

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This sample used layers of bubble wrap, carrier bags and man-made fabrics which were then heated with the gun. I love the way the fabrics bubbled and fused with the bubble wrap to form very interesting textures almost like shed reptile or fish skin.

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My favorite sample: Crushed velvet formed into peaks using marbles. The texture is so tactile and the effect when light hits it is really interesting.

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Another favourite was this organza; permanently pleated using boiling water. I would love to use this in a garment such as an evening shrug, perhaps with some metallic embroidery and beading to catch the light.

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Texture created in organza using mables to form ‘bobbles’ in the fabric. This sample reminds me very much of bubbling water. I may well add some stitching and beads to this piece to accentuate this before assessment.

Review against the assesment criteria

Looking at the assessment criteria for the course, I am reasonably confident that I am meeting the criteria so far:

I have produced what I consider to be some interesting samples which can be further developed in the future. There are also some that did not work so well but they were worth trying to add to my experience.

I feel the quality of the samples is generally good, I also feel I have shown discernment in my choice of samples to present to my tutor. I need to find a way to present the samples for assessment in a coherent manner, but will ask my tutor for guidance on this. Most of the samples will work mounted on a board but some are very 3D and some very fragile so possibly some kind of photographic ‘scrapbook’ may be a better way forward.

I tried to experiment freely and I am trying to be inventive in my approach as well. I feel I am always struggling to find a personal voice as none of the exercises are the sort of thing I would normally do in my usual work. Before starting to study for this degree my work was very detailed, fine machine embroidery often worked on applique, pieced or digitally printed backgrounds and building up texture with hand and machine stitch. So most of this course will be new to me and I hope that it will all start to come together throughout this course.

With regards to artist research, this has been really useful throughout this set of projects. I have set up a file in which to keep my research with a short summary sheet for each artist as I did in the research part of my last course. I find this as well as some Pinterest boards of images a great way to collate information for future reference. I can continue to add to this throughout the course.

What I am sending to my tutor for feedback:

10 bags of samples

Bag 1 – Linear accordion pleat samples (Project 1, Exercise 1)

Bag 2 – Rotational accordion pleat samples (Project1, Exercise 2)

Bag 3 – Knife & box pleat samples (Project 1, Exercise 3)

Bag 4 – Incremental & twisted pleat samples (Project 1, Exercise 4)

Bag 5 – Basic crumpling technique samples (Project 1, Exercise 5)

Bag 6 – Linear crumpling technique (Project 1, Exercise 6)

Bag 7 – Rotational crumpling technique (Project 1, Exercise 7)

Bag 8 – Fusing plastic samples (Project 3, Exercise 1)

Bag 9 – Heat gun samples (Project 3, Exercise 2)

Bag 10 – Hot water samples (Project 3, Exercise 3)

1 x small white sketchbook with sketches of some of the above

1 x reflections and question letter

1 x contents list

 

 

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About Julie Hooker

Having recently returned to my roots in Surrey, I am currently studying a BA Hons degree with the OCA. My work is often inspired by the local countryside in the beautiful Surrey Hills area and the wild rugged nature of the North Cornish coast. Steam engines and abandoned industrial history are also recent themes. A free machine embroiderer and felt maker; I like to explore the use of natural, found materials to create my art, whether that be as raw materials to stitch or weave with or as a material with which to produce dye or print with. Previously, I completed City and Guilds parts 1 & 2 Creative Embroidery at the East Berkshire College in Windsor in 2007. I was also awarded first place in the wearable art section of the National Quilt Championships 2008 and 2009 held annually at Sandown Park.
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