Hand sewing can be a slow and thoughtful process. My lecturer suggested it is also feminine, something that I had not thought of at all. I have been thinking a lot about my Gran whilst sewing this waterlily, a flower I painted/drew for my Gran a few times whilst growing up and discovering art as part of my life. I wonder if this is even doing my Gran any credit? What would the audience think of this work? I am also thinking about how I want to present this table, which will come up in another post.
I am still considerinIg how one can preserve things from around the house, that are instantly recognisable for what they are. Papier mache is a process I haven't used since I was a child, so it felt like a childish and immature activity.
How successful is this bowl? Ironically I have used old notes made during this degree, as I think about what processes I want to include in my final college installation.
This is the start of my career, rather than this being my last project.
The image is distorted and a practice with transferring images from a photocopy onto material. This photo was used in my last module, and reflects upon the idea of being vulnerable. I am not sure I will use this exact image in my work but this feels like an idea that will be transferrable for the present module.
A failed and new technique that I am currently trying to perfect. This is a photo of the photo I tried to transfer onto canvas. Perhaps the material wasn't the best, nor the paint a very good medium?
The lily is something that was shared between myself and my Gran, as a special flower.
My Gran had a table cloth that was saved for Sunday best, so it really only came out of the sideboard cupboard on special occasions. It was lacey with flowers all over, but I can't remember what flowers they were. My Gran took great pride in baking a little feast or banquet to celebrate birthdays and visits from other family who weren't local.
Do other people have memories of their Grandparent's table cloths and fond memories associated?
I melted an old carrier bag onto my teapot with the thoughts of how to preserve items. It is also an item that many people on an international level would know what it is and what purpose it has. Does wrapping it up change the use of the teapot, to become a sculpture- rather than being made to brew a teabag or two.
What can I write about this. So far it has taken 13 balls of wool and over 12 hours to painstakingly wrap the wool around the table. The black brings to mind the idea of mourning. But mourning of who and what? Does black connotate loss to the potential audience?
In response to the artist David Downey's work I wanted to preserve things around me- and fix the wobbly table leg on the dining/art table. Tables have many connotations, such as family sitting and eating together, arguments around the table, a place to create etc. I really wanted to support the leg and used what I already had available, black wool. Should I wrap the whole table, or just the leg and a section of the table top?
Ruth N Brown, a chance to see my works in progress