Windings and Wrappings

These colour studies draw out colours from my pop up collection. Threads wrapped round multiple times in multiple directions simplify the various colours and textures I found. These studies will not only inform my weave designs in terms of colour proportions but also are objects in their own right.

wrappings around bark

 

  

 

a matchbox wrapping of a twig

open it up and there's the roots!

Alice Anderson

Whilst walking the streets of Soho in the rain I walked past a building in which various people were winding fine copper threads round objects. The door being open, I gingerly entered. Having that very day done a wrapping and winding workshop I found this all very apt so I asked a few questions, my probing revealed this was in fact a piece of performance art by Alice Anderson a contemporary artist who aims to enact preservation and repair of a diversity of objects including personal items such as her mobile phone and in today's case what seemed to be a 5 piece band! I found her work highly intriguing as these somewhat common place objects had be re-created in to something much more valuable with the lustre of the fine copper threads and indeed the very act of wrapping and winding which is a procedure which requires much time and care.

Links 


http://www.alice-anderson.org/

Pop-Up Project

This brief directed us to put together a collection of objects with a connecting theme. My collection consisted of intricate root formations textural bark and tiny insect like fishing flies. The objects all have a delicate and organic feel and will inform my technical blocks; weave, knit, stitch and print.

My pop-up collection

In a drawing workshop I translated the delicate nature of some of my objects onto paper. The below drawing was completed in conte crayon, twisting the implement I attempted to capture the blurred edges of the object. 

Fishing Fly, completed using home made grass paintbrush and inks.

Twig root, using the snapped end of a stick and watercolour paint.

Plant root formation, completed in watercolour using the object itself to paint the intricate details.

Suited and Booted

'Clothes make the man.  Naked people have little or no influence in society.'  ~Mark Twain, quoted in More Maxims of Mark compiled by Merle Johnson, 1927

This small collection shows the change in style of the military boot. In the early 1800's military uniforms were more concerned with the fashions of the times and the image of masculinity. However in modern day combat it seems that with the invention of automatic weapons and so on the main aim of the army uniform is practicality. This change in priorities is reflected in the design of the army boot, fashionable buckled shoes may have been worn in the mid 1800's which would've proved highly uncomfortable and impractical, lace up boots were then introduced which would be a design feature which would stick right up to the present day. The military boot design has seeped into the fashion sphere becoming a common style for both men and women. Similar styles were worn in the 1940's by both male and female civilians however this would have been for practical rather than aesthetic reasons. The design of the 19th Century uniforms would have been highly based upon the current fashions, now in the present day we see a need for function however this 'military look' is still desirable in the fashion world, so perhaps this need for a masculine appearance is still being achieved in the design of these uniforms. It is interesting to think about the importance of this uniform, everyone wearing the same coats and shoes even many military uniforms look the same with little distinction between them. It could be said that these uniforms give the men a sense of power or belonging. In chapter 1 of Henry David Thoreau's 'Walden' he writes; 'It is an interesting question how far men would retain their relative rank if they were divested of their clothes.' This notion that rank is determined by clothing is very evident in the military uniforms those of a higher rank wearing a higher quality of clothing and boots and those in the lower ranks wearing mass produced items. 

 1. Here you can see a pair of 19th century military boots. They would be buckled round the ankle and long and narrow in shape in keeping with the current male shoe trends. These boots wouldn't have been dissimilar to those worn by civilians at the time meaning that little attention will have been paid to function. However it was not essential for the wearer to be constantly mobile as the weapon of the period was the musket which was a highly inaccurate and short range weapon. So perhaps the appearance of masculinity was more important than camouflage as an intimidation tactic.  

2. This early 20th Century design is perhaps a more practical example. The calf length laced up boots would've protected the wearer from muddy conditions however would not have been completely waterproof. At this time weapons would have advanced meaning that staying hidden and being mobile was essential. This is reflected in the change in the colour of the uniforms and the more practical boot.

3. In an earlier design we can see a similar style. Although a practical boot we can see that this too reflects the current styles, small calves and built up thighs on the trouser leg. It seems though that this shoe style did indeed become one which stuck for a while. We can also see this style present in modern day fashions however mainly for ladies shoe designs. It is slightly odd that this style which was seen as the hight of masculinity is now only present in feminine styles.

4.This design by established shoe designers Bertie is highly reminiscent of these military boots calf length with laces and made from tough brown leather. Although in the past these styles would have been worn by men, today we see very few if any calf length boots for men on the high street. This is perhaps a reflection of the rapid change in what is regarded as masculine over the past 100 years.

5. The above is pair of Hobnailed boots dating back to World War 1. The design of these boots were due to problems faced with the existing army boot. The nails hammered into the sole would allow for grip on icy, soft or rocky ground. Steel inserts were often attached to the heel and toe of the boot meaning that the sole would not split as it had previously. These boots were highly practical employing different tanning of the leather to reduce rotting and thicker soles due to the nails all these thing meant that the boots would be both long lasting and helpful to the soldier, if not slightly heavy and slippery on smooth ground. This style of boot signified a clear aim, practicality and comfort.

6. This alternative style of boot worn in World War 1 would have tied tightly to the foot and allowed for a great deal of movement. However in damp conditions the leather which was tanned using a vegetable tanning technique, would have often become rotten and foul smelling. The soles would often crack letting water in and soldiers would often get trenchfoot due to these damp conditions. Similar styles of shoe are seen in men's high street designs and are seen as a practical winter option.

7. This image recently released of the British Army's new camouflage uniforms shows a very practical boot matching the uniform with deep treads for grip. This style of shoe has long been available on the high street for both men and women, often marketed as a walking boot. However similar styles are present in fashion shops.

T.E.D - Strategies for sustainable design

Kate Goldsworthy - Evening dress

T.E.D or Textiles Environment Design is a research group who believe that through changing decisions designers make at the design stage we can come closer to producing products which have a closed loop system i.e. create no waste.

A recent lecture from Kay Politowics gave me great insight into the work T.E.D is doing to make textile design more sustainable and how perhaps I could incorporate some of these concepts into my own designs.

Up-cycling was one of the topics discussed which was highly interesting. Kay was a walking example of the successes of this technique as she was modelling a beautiful shirt which was originally from a charity shop but had been printed on to make a beautiful design which inevitably was worth more. 

T.E.D have put together 10 strategies to think about throughout the design process, many contemporary designers have used some if not all of these strategies in the design process. I feel the use of these strategies in some cases has not only produced sustainable designs but designs which are highly innovative and thoughtful.

Worn again-Virgin hot air balloon coat

Worn again a design company who specialises in up-cycling define it as:  “Upcycling (unlike recycling) is the practice of taking something that is disposable and transforming it into something of greater use and value, leading to a higher material and energy benefits.”

Their designs take materials which are no longer of use and produce something which is both desirable and functional.

Other designers using T.E.D's Ten:

Jung eun Lee-RCA

Shaun Sampson- needle punch collection

So whats my manifesto? I like to work with organic and found items which are unwanted and turn them into things of beauty, so I guess mine would be: 

Find, Salvage, Re-use and Re-work.



Links

http://www.textiletoolbox.com/

http://www.tedresearch.net/about/

http://www.wornagain.co.uk/pages/upcycling-story

http://www.kategoldsworthy.co.uk/

http://www.shaunsamson.co.uk/

Museology and Victorian Avant-Garde

Museums and art galleries have long been a place where the general public can be enlightened about past cultures. Relics, everyday objects and artworks give us an insight into the ways of the past. But what are the limitations of these 'sacred' spaces?

The 'British' Museum

Museum curators attempt to create exhibitions which give us great insight into a certain time in history. However could it be that the many artefacts on display are only those which are deemed interesting or of historical worth? If this is the case then perhaps we are not seeing the full story if only the best is on show. The mundane everyday objects, or ways of the past we are not shown could be the key to understanding the very make up of past cultures. The same could be said for art exhibitions, as these paintings give us not only an idea of the fashions and styles of the time but also an insight into their everyday life, or so it would seem. Are we being shown the official truth here, what 'they' want us to see?

The Pre-Raphaelites Exhibition currently showing at the Tate Britain is undoubtedly one which inspires. Beautiful images of beautiful women grace the walls of this crowded exhibition space. Just listening to some comments people had about these paintings was very interesting; 

"oh that's good" and "weren't they pretty in those days"

This perhaps raises the question where are the painting of the average woman? Surely not all the women of the 1800's were drop dead gorgeous and shrouded in fine fabrics, however this is what some people appear to believe. In the Beauty section we are reminded not to take these painting as exact truth but more as an insight into the things which were highly valued and admired at the time. We are informed that 'beauty came to be valued more highly than truth'. In Lynn Nead's text The Magdalen in Modern Times, Neads speaks of 'the fulfilment of the respectability and moral purity of the feminine ideal' and indeed for a middle class audience paintings of this era were expected to fulfil this ideal or else be deemed vulgar. Neads text also touches on the domestic setting in which most women were depicted and cites a review of an 1863 exhibition at the Royal Academy; 'England, happy in her homes, and joyous.....in her snug firesides...the hallowed relations of domestic life' This perhaps acts as a social narrative to the era; the place of the woman in contemporary art as the wife, the mother and the daughter in the home.

Dante Gabriel Rossetti The Beloved - Tate

So what can we learn from this? perhaps that things are not always what they appear to be. We can see museum and exhibition spaces as a place of truth and enlightenment but only to a degree, the things that are not on display are perhaps the most important and insightful, but how will we ever know?

Links

http://www.tate.org.uk/visit/tate-britain

The Myth of normality.

The Superhuman exhibition at the Wellcome Trust Museum is highly sinister and thought provoking. One enters the dimly lit room to a silhouette of Icarus. This is projected from a tiny statue showing Icarus with his self-made wings. From the start this exhibition is inviting us to question; are human enhancements a means of advancement? Or a shallow endeavour which can only lead to self-destruction.

Figure of Icarus flying first to third century CE. The British Museum , London

Matthew Barney’s ‘Manowar Legs’ from his ‘Cremaster’ series are highly intricate prosthetic forms. The screening of his video shows double amputee and athlete Aimee Mullins transforming when she wears these metamorphic prostheses. This performance piece perhaps highlights society’s needs for aesthetic ‘normalcy’, as the Manowar legs are far from functional, they are merely an ornament. I feel that the message behind Barney’s works resonates throughout the exhibition; society’s discomfort with missing limbs has led to an attempt to ‘normalise’.

Matthew Barney, Monowar Legs

This notion is explored further when one reaches the display of prosthetic limbs designed to aid those children affected by the thalidomide drug. As an attempt for a solution to the deformities the making of these prostheses was funded, however many children did not need/ want to use these artificial limbs as they were often too heavy or uncomfortable. These children adapted to other methods of mobility in their day to day life which served their individual needs. These limbs were more likely designed as a kind of mask to this tragedy, their way of saying; ‘look these children can now function like you or me’. This desire for normality, for uniformity leads me to question what is normal? Does the normal lie in the majority? Or is each individual’s ‘normal’ different?

Terry Wiles footage from the films of Dr Ian Fletcher, c1965, Wellcome Library. This video  shows a child affected by the  thalidomide  drug, he is entrapped in a mechanical contraption which is supposed to help his everyday movement, I found this video slightly disturbing.

‘’we are all outsiders, we are all making our own unusual way through a wilderness of

normality that is just a myth.”

― Anne Rice, Exit to Eden

A quote from Anne Rice’s novel Exit To Eden reflects on normality as a myth, it does not exist. In some ways I agree with this analysis, however I feel we each have our individual norms; we are individually normal.

The Manowar Legs and in fact the whole exhibition remind me of a film piece by artist Robert Morgan. ‘The Separation’ is a short video in which two conjoined twins awake to find they have been separated. In this heart wrenching film, we see their attempt to function in their everyday life as ‘normal’ individuals, their existence is lonely and miserable. This perhaps reflects on the point that one person’s normal can be highly different to the next person’s, as being joined together was their world, how they had lived. The video concludes with their attempt to re-join themselves in an effort to be happy and this ultimately leads to their own destruction. Does this film comment on society on a wider scale, is it necessary that all our bodies look the same? Is our preoccupation with aesthetics and normality a path to misery and self-destruction?

  

''And, burned because I beauty loved,

I shall not know the highest bliss,

And give my name to the abyss

Which waits to claim me as its own.”

― Charles Baudelaire, Laments of an Icarus

Links

http://www.wellcomecollection.org/visit-us.aspx?gclid=CKL7k-q-iLMCFcrItAodey8ADg

http://www.robertmorganfilms.com/

A Rough Guide

The Aim: To Produce a collaborative visual guide to London concentrating on five main areas.

My Aim: To further understand my designated area; Notting Hill, through visual exploration and documenting, however delving beyond the surface. What lies in the corners of Notting Hill we are not told to explore?

The colourful streets of Notting Hill

An illustration of a typical Notting Hill street

I began to document the area; the colours, the image Notting Hill wants to portray.

Images taken of an antique shop on Portobello Road

Illustration, ink on paper

After exploring the various 'junk' and 'antique' shops, I began to think, what is it that makes this type of unwanted 'junk' desirable above other things? We are told to find beauty in these unwanted and rusty items. But isn't beauty in the eye of the beholder? How can one question someone finding beauty in something dull like a slab of concrete? Perhaps the beauty is in the mundane. 

With this in mind, I began to explore the area in a very different manner, searching for surfaces and textures 'off the beaten track' in the less visited corners of Notting Hill.

Rubbish down a back street alleyway

Found surfaces and textures

Illustration charcoal on found crinkled paper

Rubbing pastel on paper

Street art on a crumbling wall, a bit sinister

Study of plant, conte on found paper

When the group collaborated, it was interesting to see different interpretations of the designated areas.

For my page I focused on an image of peeling paint taken down a backstreet of Notting Hill. Although highly minimal, I feel the image expresses a sense of history not only of the building itself, but of the area. One can see bright paintwork previously existed on this building, now however it has been painted cream, perhaps a reduction in status? or an attempt to blend into the background expressing unimportance - this building is not of interest.

Cracked peeling paint down a back street

Representation of peeling paint, burning and ripped paper

 

The Rough Guide is a highly diverse magazine, each page is individual. This I feel reflects the diversity of London and perhaps the diverse creativity of the group.

The Rough Guide, lovely.

My page in the Rough Guide

Psycho-geography 

“the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behaviour of individuals”    Guy Debord

Psychogeography is a fairly new concept defined in 1955, it is the notion that cities impact our emotions and reactions to them and often attempt to regulate our behaviour. Although a fairly recent idea, this concept has been examined in various literary texts throughout history, often the character being separate from the crowd, observing, experiencing the city in his own way and breaking from the regulations we are urged to follow.

Whilst gathering information for my rough guide I became more and more aware of the way in which we are manipulated, signposts 'must see's' , and i began to break from these rules and went my own way, going nowhere in particular and taking in my surroundings. The result: I saw parts of the area most would not see and gathered highly interesting information from the area.

On the psychogeographical treasure hunt my group endeavoured to ignore street signs and merely focus on the items on the list we were directed to find. This quite quickly meant we got lost, however perhaps made it easier for us to take in our surroundings and identify for example a menagerie which was a rather abstract result (a group of people dressed as rabbits sat outside a pub). 

  

An exercise in getting lost and Flanerie 

For this exercise I decided to print off a map of Venice and use it as my guide to the city I traced the outline of a 20p coin and used this as my route. Working out approximate ratios from my map helped me to decide how long I would walk or travel on a bus in each direction...often the bus did not follow my route exactly however I felt this was a more interesting outcome as I had even less control of my destination. Although at first I wasn't too sure about the point of this exercise I soon realised that I had ended up in areas of London which I would never think to visit. It made me realise that it is true that I never stop to look at where I am, I take my route to uni and back past the London eye and House of Parliament and never notice them, I take bus routes which I know and have already travelled on, I go to places of 'interest'. But what about the rest of it, the unseen parts of London, aren't they of interest too? Whilst doing my Rough Guide I soon realised that these unmarked of no interest places were the most rich in interest, they portrayed the area for what it really is, not pretty chocolate box houses, but an ordinary place with boring architecture and blocks of flats. This to me was much more interesting. This exercise has also given me a new approach to the way I research, perhaps in the future I will pick a map draw a route and follow it as it has proved much more successful than my usual method of planning bus routes times and directions.

I also found it interesting that my chosen map was of a very popular tourist attraction whereas when translated onto the streets of London I ended up on back streets and run down estates.