Questions for critical review (this are a few ideas
Has traditional embroidery evolved or is it fundamentally used in the same way? Does contemporary embroidery change the way we look at tradition? Does contemporary embroidery reflect traditional embroidery?
How did feminism change the face of traditional embroidery? Like this one
Did traditional embroidery contribute to feminism?
Feminist Art movement
early 60s during the Second Wave of Feminism.
Feminist artists worldwide
re-establish
founding pillars
being receptive to contemporary art
Change
reshaped cultural attitudes
changed gender stereotypes women/men
19th century
Embroidery
Middle- and upper-class young women
Demonstrate feminine qualities/suitability for marriage
Exercise 1: Short-circuit (5–10 minutes) Select three to get you going, before returning to add more phases in your process. Aim to fail and learn through the process rather than trying to create something you know you can achieve. Document and reflect on the process, have you been surprised by the outcomes? ● Define it
artistic story –Your personal history, background, memory that sticks out to you, or belief. Be honest as people will relate more to your work.
Know your subject inside out and relate it to social issues or personal experiences.
Choose medium carefully to reflect the subject.
Make the style of your work consistently, so it compliments each other. This will make you as an artist more recognisable
Practice, practice, practice to evolve your work
Don’t follow trends, draw knowledge from them as trends go in and out of fashion
Connect with others
Show your work visibily (internet)
Know your value
Make it bold. This can be visual, but also by promoting yourself
● Let’s look at the real thing ● Introduce time, motion and sound repeating pattern, lines, placement, fabric generated noise ● What is the key moment? Chances either meeting people or seeing objects ● Create a variation size, shape and colour ● Connect play, fantasies and daydreams connects you with people ● Combine seemingly arbitrary content challenge colour contrasting from reality ● Erase the distinctions between original and copy take elements and learn about image not copy ● Consider again your motivation Gather opinions ● Make it obvious What is it? Abstract, mixed media etc ● Make it ambiguous Create different interpretations/meanings ● Remind yourself write a story then draw it (storyboard)
● Bounce around at speed use colour for the eye to bounce around ● ‘We’ve got a problem, Houston’ analyse problem/how to resolve
Exercise 2: Articulating your ideas What approach to articulating or visualising ideas will work for you? Try an approach you’ve not used before.
Firstly I need to understand the word articulating, and this is showing how you can communicate your idea.
● Try visualising your ideas through images or drawing only. How much visual information do you need to communicate your thinking? What images are important?
ideas, functionality, human interaction, design concepts
The important images are the ones that fuel your imagination where you want to explore further.
Try describing your ideas through written words. Think about which words are important. Can these words feed back into your ideas?
Family
Fantasy
Memory
Relationship
History
Connections
Exercise 2: Articulating your ideas What approach to articulating or visualising ideas will work for you? Try an approach you’ve not used before.
sketching using storyboards is something I havent done before, but I want to create narrative and without a story, this would fall down in practice. Or using a wheel of life which could be adapted.
● Try visualising your ideas through images or drawing only. How much visual information do you need to communicate your thinking? What images are important?
Images that inform your work are important. They need to be relevant and focused. Doing this will improve comprehension
● Try describing your ideas through written words. Think about which words are important. Can these words feed back into your ideas? ● Try describing your ideas through spoken word or sound. How would you describe your ideas within a conversation? Are these different to your written or visual ideas? Use an audio recorder, perhaps on your mobile phone.
I do talk to myself often, but haven’t recorded before as I don’t like the sound of my voice. I would rather write things down as when reading I feel that when I read again, this generates ideas. And I like the feeling of writing as most of the work usually is done on the computer and having listened to Louise Despont and her view of drawing was enlightening. Although she isnt a textile artist, her explanation of using her hands has made me think about it more.
Exercise 3: Remake, remodel
At present, after talking to Rebecca I want to learn about the technical side of the making process before I attempt to recreate sampling and she explained that some people do just that. However this does not stop me discussing what I need.
● What materials or resources can you substitute or swap to improve your work?
Having thought about this how I might change direction in the way I work. I am thinking about listening to music as this might feed into my work. Looking back at previous exercises, I created marks whilst listening the rhythm and think I might use this method again. I could use embroidery silks combined with string
This reminds me of the latin writing
● What other material or process could you use?
I am thinking about music, maybe lyrics or sheet paper to evoke a time and place. https://emptyeasel.com/2007/04/09/a-short-guide-to-breaking-the-rules-of-art/ ● What rules could you substitute? Rules are meant to be broken, but the fundamentals of art remain. So i would say I need to experiment to change what I think and what I make. This is where breakthroughs happen. If I were to follow the rules of art, changing composition, colour or combination ● Can you use an element of this work somewhere else, or as a substitute for something else?
? Combine ● What would happen if you combine this image/work/technique with another, to create something new? By changing an element such as the embroidery technique to weaving might be one approach. by combining with string and wool could change the depth of a piece. ● What if you combine purposes or objectives? NOTE (Some questions are similar to others in this section, so need further thinking about, but after some research realised there are subtle difference and meaning. ADAPTION – equipment used or changes to learning environment MODIFICATION – this is where there is a change of direction or skill level ACCOMODATION ● How could you combine the current approach with another approach to create a new method of working?
? as above Adapt ● How could you adapt or readjust this work to serve another purpose in a different work? To alter the technique or materials used to produce a different and possibly unique result ● What else is this work like, and how might that similarity enable you to adjust the work? ● Who or what could you emulate to adapt this work? ● What other context could you put your work into, and how might that adapt it? ● What other ideas might you use for inspiration/motivation? Modify ● How could you change the scale, shape, look, or feel of your work? ● What could you add to modify this work? ● What could you emphasize or highlight to create more impact? ● What element of this work could you focus on to create something new? Put to Another Use ● Can you use this method/technique somewhere else? ● How might this work be seen differently in another setting? ● Could you recycle the waste from this work to make something new?
I always keep the remnants of any work, as they can be reused. Often when I have scraps, I sew them together to form larger pieces to sew into. Usually keeping complimentary colours together, but occasionally I try to contrast them. Eliminate ● How could you streamline or simplify this piece of work? ● What elements, rules, or connections could you eliminate? ● What could you understate or tone down? ● What would happen if you took away part of this work? What would you have in its place? What could you do with the removed parts? Reverse ● What would happen if you reversed your process or sequenced things differently?
I like the idea of a negative and posive extracted from photography, alongside ordered blocks of colour ● What if you try to do the exact opposite of what you’re trying to do now? ● How could you re-organize, or re-configure this work? ● What if the order of the images were reversed?
Hi, my name is Caroline and I have just started my final year. It has been a huge learning curve over the last two years, learning new techniques inspired by through the course and research into Contemporary artists. As a keen genealogist, I am exploring inherited memory as my theme. And whether or not being creative is a natural process that is passed from generation to generation or is in fact a learned behaviour. Through my passion for family history, I am exploring embroidery as my medium, and text to create a narrative for my story which hopefully with resonate with others.
Describe your practice.Does your practice operatewithin a particulardiscipline, specialist area, genre, or context, or across different areas?What name(s) can you put on your practice?
The work that I want to do will revolve around embroidery but not in the traditional sense of creating pretty work, I want to create something that makes people talk. It would be influenced by English social, geographical, and historical documentations. I would generally say that my work is orientated around embroidery but I am looking to expand on this maybe using typography through old latin texts that I found whilst researching family history. So in that way I would describe my work as multi media.
What are the key moments in the development of your practice?
Have you had any ‘penny dropping’ moments or other key learning events?How has your practice evolved in the last few years? How do you learn?
Whilst speaking to my tutor about glassine paper used for protecting historical documents, I thought about the text (personal to me). But also historical documents that tell a social history of the past. Over the years of creating, my work has evolved especially when I look back on my course work. My opinions have changed somewhat and is evident in more technical work. I learnt more by trial and error, where I tried a technique, where either it didnt work or couldnt master it. Perseverance is the key, being focused and trying it again, such as crochet, where after years of trying I looked at Utube tutorials I now am able to crochet proficiently. Which was a huge achievement for me.
What are the strengths of your practice?What areyour observations ofyour creative process, and the work itself? What positive feedback haveyou had on your practice, and how you might build on these.
Being passionate about what I do is one of my strengths along with the enjoyment of continually learning about ways to do a technique. Research also is a strengths as I learn all the time as I have a curious mind and need to know what a word means. This often leads me to new avenues that I hadnt remotely thought of. Sometimes just by chance, I will get an idea from an image for a colour or shape putting it into a scenario for further research.
Positive feedback comes from my partner, who has motivated me as he comes from an artistic background and has made me look at how I could do it another way. I need to collaborate with others to get more feedback from people who work in the way that is similar to me.
What drives your practice?Identify what you enjoydoing? Whatmotivates you to study and to make work? These could be intrinsicmotivations, such as curiosity or a love of the discipline, or a desire to dosomething else meaningful.
I am motivated as the creative process is good for my mental health keeping me focused. As previously discussed I enjoy learning from others and seeing how embroidery can be transformed into something that uses the technique but challenges the way I perceive what I know it to be. I love the motion of the needle and how it slows me down, where I am not thinking, just doing. It encourages me to continue to relax and be in the moment. Often ideas comes to me during this meditative task.
What ideas underpin your work?Identify the kinds of themes, ideas,questions, or debates your work explores. What are you interested inmaking work about? How do you feel these influence what you do?
I like to draw from the past, whether techniques or issues arising from this. Its good to make comparisons with how things were and how they are now. The past is an important part of my life and continually look back, and always learn something new, whether mortality rates, historical events, in fact it can be anything. This inspires me to create a narrative in my mind, but not sure about the direction yet. Maybe a timeline of events or inspiring people. I had thought to create silouettes on acetate, but again this is just an idea at this stage. Possibly creating layers and embroidered.
Describe your creative process?How do you talk aboutyour making,writing, or creative process? What kinds of materials, processes, interests,knowledge, or experience do you bring to bear on your work?
Creating work comes naturally, especially when embroidering. I can pick up a needle and fabric and sew without thinking and have done this for many years. I prefer natural fabrics such as cotton and silk, rather than man made as the feel is important to me. Raised texture is also an important tactile element. I have extensive knowlege in genealogy and feel this will be invaluable to my future work and looking forward to connecting my two passions into one.
Where might your work develop?Where do you see areasfordevelopment? What ambitions do you have for your work? Are thereunresolved areas that present possibilities for new work? How might youpick up on these and develop them further?
There are a number of areas that I want to develop. Understanding my practice and what I want to achieve has been highlighted when looking at the reflection document. As at the moment I am not totally sure of the direction ambition wise, but at this stage I want to create work for self satisfaction. But as it refined maybe to apply this in a theatrical way possibly in fashion. Another area that I want to look as is self confidence in my abilities. Without this evaluating my work would suffer, as often my work does not satisfy me sufficiently as often think it is too naiive and not refined in comparision with other artists. But I realise this is down to practice, whether through sampling or thoroughly investigating an area of work.
I will look for possibilities to volunteer for projects or create a collaborative work.
Reflection is an area I have struggled with and something that I need to perfect. So this is going to be a challenge.
One minute paper
I have learnt how personal experience (childhood for example) influences the way you approach any piece of work, and can be dependant on mood. You learn better from what you know. Also external influences have an impact, such as political, social and environment.
Researching contemporary artists has influenced new ways of expanding my knowledge and practice by thinking in new ways.
evaluating my own thought practice has given meaning to my work
In your own words, what you understand
I understand how it is important to understand my own practice and how it fits in with others.
What was the most confusing point
The hardest thing for me is making connections in my work from choosing the right type of direction (work) to sketch without being distracted by irrelevant material.
How useful was the exercise
It has shown that I need to reflect more on the work I do and why I want to do it. I need to explore different ways to critically analysis artists and to understand what keeps them motivated.
Three Whats
What?(what was the experience: introduction stage)
Overall, the last assignment led to personal growth in my knowledge and techniques which I now need to expand on, with more in-depth analysis continually drawing from research. Understanding what is important to me will help me to create my own voice through my own stories. When looking through these exercises it has become evident that I need to do is to I need to take smaller steps rather than looking at the bigger project.
So what?(what was gained or learned from the experience:analysisstage)
I need to continually learn about contemporary artists, but not limit myself to artists today but historically and how the practice has changed. Does it remain true to the technique or has it evolved and in what way?
Now what?(where does this lead to: conclusion stage)Driscoll’s process can be based on a series of broad questions such as:
What were your expectations of the course?
I wasn’t sure what to expect and early on in the course, doubted my abilities due to the course structure as it lacked clarity. But doing these exercises has grown my confidence where I feel that the my thinking more refined as a result of research and experimentation.
What approach did you take?
Following the guidance in the coursewas essential, however found that I struggled with reading all of the text due to my illness where focus is an issue. I devised a plan to highlight the essential wording within that text, allowing me to focus on the relevance to the work I had to undertake. This is something that I continue to do. Mind maps is essential to keeping that focus, by just key words that needs further research.
What was difficult?
Time keeping was difficult for me asI researched extensively which although it was useful. I feel that it impacted on the time that I should have been experimenting further. On reflection I need to be more balanced with both in mind. Analysing my work and reflecting is a difficult area and one where, I have read extensively on judging whether something will work or not has improved my choice of materials or colours and by accepting mistakes as something that could be learnt from is an important factor in producing an acceptable piece of work. but further work is needed.
What was easy?
Research is the easiest part of the course and something I really enjoy. I am passionate about finding out things. From words within the course text or technical jargon in techniques.
I have not attempted sampling yet as I need to understand how the academic way of working fits in with the technical side of working.
What challenged you?
Understanding myself is probably the most difficult path and where I see myself in the art world.
Connecting ideas was difficult until I utilised mind maps where I could connect my thoughts visually. Previously, I struggled with the design process where I found that I was jumping to the end idea without the initial exploration, such as brief, development, selection onwards to show my thought process
What would you do differently?
I find being spontaneous better than being rigidly planned. but going forward I will endeavour to slow down and absorb the research, sketching or whatever I am doing.
I enjoyed discoveringnew artists most of which I definitely wouldn’t have discovered if I hadn’t done this course. As a result I have found many new techniques and ideas. The research undertaken has made me question embroidery and how its applied. This I have yet to decide.
What changed your thinking?
Being open to contemporary art as opposed to traditional art has extended my knowledge to the varied disciplines within the art world across many cultures, social backgrounds and religions. Some of which I still dislike but can appreciate the approach to the work in which it was made.
What did you discover?
Much of the work wasnt inspiring as seemed like it’s been thrown together and don’t see the point of it. However saying that, there is always an element that can be taken from it, such as a brushstroke or colour.
What did you learn?
On reflection inspiration can come from anything and therefore warrants consideration. Looking at things initially we may miss vital inspiration. For example, when you look at trees they are green, but when you really look, you begin to notice different hues, shades or tones.
What will you take forward into your next course?
To continually explore,to be more open to ideas and to expand my knowledge further to gain insight in my work. To go back and reflect how work created before appears and see if there are connections to what I am inspired by and understand exploratory investigations in the future.
What impact did your study have on your creative practice?
Having looked back at the work I have undertaken from the beginning, I undertook an exercise to collate my work into areas of interest. This was useful in highlighting how much my work has evolved. Whilst there were samples that I didn’t like, there is a lot I consider as being highly successful. This has added to my confidence in shaping my work and to learn more about myself. I have found the exercises though provoking and need to learn more to be able to be able to voice my intent.
Exercise1:What models work?
Which model of reflection might be well suited to your current piece ofwork? or stage of study?
using the words in the Gibbs’s (1988) Description
During the evaluation process to be more descriptive, to learn more technical approaches, this will inform my work when deciding what works and doesn’t work.
Feelings To work more intuitively using personal life experiences. To be more confident in the process and to use my emotions to my advantage, rather than let them define me.
Evaluation To continue to expand on the working practices of others and how this might influence how I approach an idea. But to be selective and current, with references to the past. To expand my knowledge on judgement and what it means
Analysis To reflect on how artists approach meaning in their work and how I can apply this to technical work that I do. To understand why something didn’t work keeping in mind the principles of working practice. This will allow progress of my work through priority of successes.
Conclusion To reflect on how I feel on what I have achieved. To understand if something went wrong how can it be changed for a more successful outcome.
Action plan To research further, and to re-evaluate a process, trying different avenues. Making time for each of the processes.
Reflection techniques I need to consider would be to think more logically, expand on the knowledge I have and to find any gaps in that knowledge. To interpret the work and make it relevant to the work I am doing.
What barriers might you face in developing a regular reflective practiceand what strategies could you put in place to overcome them?
Memory is a difficult area for me and the ability to make notes at the time is essential as reflecting later, you are likely to forget what you have done or what you felt at the time. So I am going to be more disciplined in creating accurate notes.
Being isolated is a difficult sometimes and making connections is something I need to make more of an effort with. Although I have become very isolated since the pandemic so is hard for me to participate with others.
Understanding subjective feelings can actually be beneficial to my work. Rather than discounting negative feelings embrace them. This will lead to a more positive outlook where creativity helps thinking, and ability to concentrate. However discounting work when you are ill for example, could create work that is totally different to when you are well.
Time constraints are usually a cause for stress, with proper planning techniques, may be beneficial for mental wellbeing and reaching deadlines. Improving subject knowledge will permeate into my work subconsciously.
Taking feedback and understanding it as a positive thing and recognise progress whatever area it is. And to understand myself in respect of feelings of performance and how abilities are measured according to your own misgivings.
Contemplativemind.org. 2022. The Tree of Contemplative Practices – The Center for Contemplative Mind in Society. [online] Available at: <https://www.contemplativemind.org/practices/tree> [Accessed 12 October 2022
I found this tree about contemplation and is something that I am thinking seriously about for my own mental wellbeing, but as I have researched resting is important to relieve everyday issues which will allow me to think clearly.
Consider the Learning Outcomes
By continuing to explore ideas by being curious to various outcomes, continually questioning where you could improve and in what way. Research is essential to this understanding. Gaining knowledge of how artists have come to the conclusion they have will give me a greater understanding of the direction I want to go.
I look for new ideas, new technology and new inventions to integrate or build upon. Previously I tried using Tyvek which proved to quite interesting.
By looking at images on the internet or first-hand allows creative experiments through sampling.
I continually question what the subject is about and techniques to achieve this, this is then applied to experimental samples. I collect a variety of textiles from charity shops where I can learn about past textiles.
What bits of work have you done which demonstrate each outcome?
This project I have caught up with the feedback exercises not done previously due to be unsure of what to do. Extensive research has been undertaken with a wide variety of contemporary artists that use embroidery in whatever shape or form.
Understanding the more technical aspects of course material but there is still more that I want to explore, which I have decided to look at in more depth, before drawing or sampling at this stage. I feel this will be beneficial to understanding not only what is required, but will permeate into my work.
How muchprogress do you feel you have made in each of these areas?
I now have a greater understanding of artists process thoughts and no longer see art just as art, but has led to thought provoking questions. This has led to me evaluate to see if my research is focused.
Are you moreconfident about some than others?
Research is where I am most confident as I like to learn about everything and anything, but need to remain focused and not get distracted.
Are there some that interest you more thanothers?
I am more drawn to decorative textiles as a rule, but I am beginning to see diversity in embroidery. Using a simple needle does not detract from the technical abilities of a wide range of Contemporary artists and their imagination. Transforming it into intriguing pieces of work.
Consider the assessment criteria
Knowledge
I have learnt that not all art fits into one discipline but can crossover into others either as a single artist or collaboration using a variety of mediums or techniques. As such I am beginning to understand where I fit in within a textiles discipline, possibly as a mixed media artist. Listening to video of artists work has allowed me to have an insight into the artists feelings.
Understanding – I am able to be more selective in looking at a wide range of relevant contemporary artists that relate to the discipline that is interesting to me using embroidery. I am understanding context within the art allows a deeper understanding of what the artist is saying directly or indirectly, drawn from a personal or social issue. Through these artists, I am learning to express myself through evaluating the methods used by individual practitioners. I have learnt that they draw from life experiences putting their ideas into a contemporary context discipline which has been useful to understanding how my life has shaped me as a person and inevitably as an artist.
Application
Building a glossary has enabled me to keep a reference where I can use the information in a way that will direct my work.I have undertaken extensive research into academic terminology gaining a better understanding of what being a textiles practitioner is and how to do certain tasks. Mind mapping has been essential to creating a focused way of working, where I am able to quick reference. Personal skills are linked with personality where I recognise that this is something I do naturally everyday, to solve problems, be motivated and analyse a situation so will apply this thinking to my work.
After the feedback I identified that I have a problem with too many words for retaining information so I wanted to explore how to create a better way of working. I really like this as it creates focus rather than being overloaded. I think this will apply to the way I approach selection of research, materials and ideas and is something I will use going forward.
By understanding the terminology has allowed me to see how I think and this will be invaluable in my thought process and how I can retain information to inform my working practice. Especially with memories, while some you can remember vividly, reminded of or forgotten as too painful or irrelevant. This opened my mind to possibilities of pieces information together as a jigsaw or timeline.
I further broke down meaning into categories using a Thesaurus. Often words are used incorrectly and changes the meaning, so by extracting that will inevitably help to give correct context into my work.
link picture didnt focus too well, but made me think of blurred memories, so left it in.
Debbie Smyth is a contemporary artist that uses thread and pins to create complex 3 dimensional work. She decribes her work as crossing the boundary between fine art and textile art. Her ‘drawings’ raise off the canvas using pins to create the anchor for the threads to pass around. Whilst this is a loose connection to boundaries, it still exists. This connects in with my work of using thread combined with possibly using photos. She also collaborates with people such as interior designers which influences the direction of her work to a larger scale compilation.
Hilary Ellis is another artist where boundary lines are blurred within her work, where there is a crossover of disciplines. She describes that she is unsure where her work sits in the context of contemporary art. She combines print and stitch onto paper but is unable to categorise it into printing, textile art or fine art as it is all three.
Paper is her preferred medium, but uses textured fabric and lace to make collagraphic prints using Wabi Sabi techniques.
She employs a technique of painting a surface and scratching away, (which is something I hadnt thought about), than random or rigid stitches are embroidered on. The technique she does is to draw lines combined with stitching where they blur into one where the viewer has to define which is stitched and which are drawn.
So by looking at these two artists, boundaries can be implied or deliberate (e.g. crossover between art, science or music). These leads me to the conclusion that boundaries can be useful in transforming a piece of work and where a person likes one type of art can appreciate a different concept and therefore a different opinion.
Established practitioner – clear direction (not there yet)
I feel that at the moment my ideas are still emerging, where I still have a lot to learn. I was discussing my achievement at work, where I exceeded my target. I was asked out of ten what would I give myself and I said 9 as my work is dependent on others. My partner said nothing is perfect and always room for improvement. I thought about this in respect of my art practice and that was a turning point for me to accept something as it is and to take from it what I need to progress further. I am learning to hone skills at this stage, as an emerging artist, where I have the freedom to experiment and to find my voice. At this stage showing my work to a wider audience will be beneficial in making a name for myself. Being open to ideas will increase my confidence into turning myself into an established artist. (inherited memory is in the forefront of my mind to explore family history. Its meaning to me and the people that have shaped my life throughout time). Collaborating with others with be useful in making social connections and inevitably new creative ideas.
Community practice – people who work together, shared ideas to gain a better understanding
One example of community practice in Worcester is https://threadsworcester.org.uk/. This is where like minded people who share a passion interact with each other and share experiences. There are individual exhibitions, but there are a number of group activities. I looked into joining but they meet in the day and work prevents me from attending. I had explored ATC trading cards, where you create a card and swap with someone else. https://www.modflowers.co.uk/artist-trading-cards/ I like this idea as something can be created quickly and there is a huge community of people participation in this.
Understanding your discipline and how its evolved now and in the future.
Personally I am considering combining fabric, paper and embroidery. I worked in a fancy dress shop, where there was a section of historical reproduction clothing (theatrical hire). I studied the costumes, looking at the fabrics, fastening etc, but became fascinated by the different combinations of embroidery stitch.
Embroidery came from the French term ‘Broderie’ which literally means embellishment. This was a way to pass the time and for clothing decoration. The basic format of the technique is still used in much the same way today.
During the 3rd and 5th century, the Chinese supposedly ‘discovered’ this technique.
Many examples can be found all over the world of embroidered antiquities. During the rise of Christianity, embroidery emerged through the church and nobility. At this time embroidery became a status symbol of power and wealth, not only on clothing but vast tapestries hung in stately homes. Eccleastical embroidery used gold thread depicting spiritual pictures. In fact anything that could be embroidered was. One of the most famous tapestries was the Bayeaux tapestry which is a historic artefact not just for the pictures and the people they portray but the techniques employed, the weaver that made the cloth. This huge tapestry gave us a glimpse into history
During the 18th century, embroidery was seen as social status in society, where young women were trained to sew (from a young age), in readiness for marriage.
The invention of the sewing machine during the Industrial Revolution, started the movement into mass production. Pattern papers later developed, led to people embroidering without mastering the technique as did their ancestors.
This change made embroidery more accessible and no longer just for the rich. Much has changed where embroidery is no longer just a hobby for women, with a growing number of men taking on this technique. Sewing itself is different to embroidery which is usually to repair or make clothes.
Threads have also transformed as new materials are produced. Originally, silk, wool or linen were used and still are today. Today threads come in a cotton and Rayon in a vast array of colours and thicknesses.
There is change in today’s market with mass production of clothing lines, which use machines to create intricate stitching. With advancements in technology, embroidery has been transformed. Computers are used as tools using digital software to transform formats, colours etc. I use Photoshop regularly.
How to create an embroidery with the Coloreel technology
New machines have advantages over hand embroidery as they are quicker and have more needles to create complex art. Using Laser technology alongside embroidery allows precision cutting.
New technology is emerging EMT16 Plus for example, developed by Melco Industries. The advantage of this machine is that the embroidery heads can be isolated, stopped and started as and when needed. So is 50% more productive as a result. Coloreel developed an attachment for thread colouring called Embroline which allows continuous colour.
Trendease DesignVision: Infinite Colors in One Thread
Many artists create bespoke art using embroidery in a different way from the past, but using the same format of stitching. Handmade items are unique to the artist, who draw on their lives and influences. This type of work often has a high price tag, due to the time this takes to make. Hand embroidery has more depth than machine stitching.
Is it a specialism or a mix of this discipline? (artist lyrics, music and song)
There will be a mix of embroidery, whether hand or machine, possibly with paper or photographs. But I am considering a voice over as part of the artwork (for example a place I have been to, with possibly a poem). Talking textiles is something I hadnt considered before and feel this has potential to create a new concept of working, but I need to research more to be informed on the crossover and potential pitfalls.
Is it multidisciplinary, interdisciplinary or transdisciplinary? Or hybrid?
Firstly I needed to understand what it means so looked up the words
Multidisciplinarity – draw inspiration from different disciplines whilst keep within boundaries Interdisciplinarity – understand how the link between different disciplines are achieved by analysing and keeping harmony Transdisciplinarity – This is where a different view of the world is drawn from humanities, and social issues.
I am still trying to understand this, so will explore this in more detail. I am thinking that at this point in time my work is more multidisciplinary, as I want embroidery to be the focus, but dont want to limit my thought process by being too rigid.
Tafui McLean a contemporary artists from Vancouver creates printed textiles using block print. But the interesting thing that she does is to incorporate symbolic meaning drawn from life experiences. Inspired by Jamaican storytelling, she draws on her Asian heritage.
The motifs are centred around circles that represent people. Her work starts with paintings, which are digitized and printed onto Organic Belgian Linen. She uses a palette of black and white inspired by her local environment where trees turn black after being exposed by snow. One reason for these colours, was to make it accessible for people who are colour blind.
Shop tafui (no date) SHOP TAFUI. Available at: https://www.shoptafui.com/ (Accessed: November 19, 2022).
Having looked at the words, I think a multidisciplinary direction is more fitted for my work. I want to be able to tell stories through my work. Possibly creating pictures in stitch.
Another artist is Leisa Rich is difficult to define as she creates 2D art, sculpture and installations. But due to her unique style almost creates otherworldly art. One particular piece of work mass hysteria is almost like drawings (creating on soluble fabric).
Im beginning to see how intertwined textile art is, and what it means to me as an artist.
Historically has it remained the same even though the technique or technology has evolved?
Initially the technique has remained the same, but the application is different. Stitch work has evolved beyond decoration to one where the stitch becomes the focus more than just thought of as decorative. Often artists use stitch to tackle contemporary issues, such as social, environmental or political messages. Erin M Reilly uses this medium to tackle uncomfortable emotions through her art, as is seen below showing dermatillomania, where people cut themselves leaving the scars. Whilst this isnt embroidery I find deep meaning within this and feel how powerful it is.
I will be use places in time, so information will be gathered from the past, present and this of how this might affect the future. There will be no specific time frames but that may change as my project evolbes
Established artists in crochet. Their thoughts and challenges in new innovations? Need to do this
Exercise 1:
Map your discipline For example, consider some, if not all, of these elements:
Identifying the key elements, ideas, and/or activities of your discipline.
I want to create something inspired by my passion of genealogy, so will look at photographs, heirlooms, previous work that I have done. So initial research will be key, so I need to understand what I want to make, with what materials, colour and composition. Also would this be flat, or 3d.
Frame your discipline historically: who are the main players or ideas?
This will be family related or places in time or a crossover of both. There is no defined time, but moments that are special to me where good memories can permeate into my work.
Exploring niches and/or overlaps with other disciplines
My work is exploratory always jumping from one idea, but having looking at previous work, embroidery stands out, in conjuction with fabric. I am now exploring the idea of using paper as a basis for my embroidery.
As a child I loved Grimm’s fairy tales and Hans Christian Anderson and was passionate about reading all the time.. And family stories have always been passed down,
My grandmother told me about her past memories of the war. I decided to explore what I remember as I’m interested in inherited memory and feel this could be a good exploration to connect with my past. The past, present and future is another avenue, and looks at my interest in witchcraft with the maiden, mother and crone, possibly me. I want to explore these connections.I am thinking of a flat picture, but possibly using a raised design using stump work making it slightly 3 dimensional. I want to make people think warmly of their past and to create something people remember as thought provoking with individuality.
Whilst embroidery is my main focus, there will be overlaps possibly with a voice over of my memories. I consider myself more of a craftsperson
Signposting resources, practitioners, or communities you can access.
Peña-Ahumada, B. et al. (2020) A tale of textiles: Genetic characterization of historical paper Mulberry Barkcloth from Oceania, PloS one. U.S. National Library of Medicine. Available at: https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7233582/ (Accessed: November 19, 2022).
View the map and start to think about the connections between elements
This is ongoing
Try to summarise your findings: how do you define your discipline?
I would say that I am a mixed media artist as I like to use different medium to create the work that I do. Throughout the course I have used a variety of techniques, but I am still drawn to embroidery and like to combine with different materials. I prefer to create something that is 3d rather than traditional flat embroidery. I like the idea of a painting onto canvas and embroidering. I am looking at different medium that I can use as a substitute for embroidery silks sometimes using wool.
Overall, I beginning to think I am more of a craftsperson at this stage, but this is possibly due to confidence in my abilities. So there is a crossover between the two disciplines, so many be multidisciplinary.
Reflect on the process: has it helped you locate your practice?
Doing the mindmaps has been beneficial in focusing on the simplicity of words as it has allowed me to think more. I feel that I need to explore mixed media more for inspiration for my work. But need to be mindful that I dont choose too many techniques and get distracted just by the technique as I did in the previous course and see the bigger picture.
Exercise 2: Incoming voices
Who, outside of the arts, would you like to sit down and have a conversation with? Perhaps these are people working in science, sports, technology, agriculture, archaeology, business, a religious setting, etc.? Stepping out of your comfort zone and putting yourself in another’s shoes can help you achieve a different or refreshed perspective on your own ideas and working practices. This exercise invites you to seek out voices external to the arts that have a connection to your practice.
List or map who you would like to talk to?
Whilst this is not connected directly to my work, I would like to talk to Charles Darwin (19th century naturalist), who found the meaning of life. He explored the idea of natural selection and how species have evolved over time through genetic traits, whether feelings, attitudes or whatever it might be. This selection is determined by a person’s genotype, affecting their genetic makeup, such as eye or hair colour, but also relates to geography or environmental considerations which feeds into my own work. As human beings we all are the same species coming from different races, religions and cultures. Craft or art is influenced by the past with traditional techniques passed down generation to generation. Often this can be subconscious where we know how to do something without trying or learnt as a child.
As such the variations of textiles can be very different with the same basic technique but draws on specific cultural influences. His theory was instrumental in proving the benefits of mutations that can adapt environmentally. This change can be applied to fabric manipulated according to certain factors. Within art, it’s accepting these differences whether views of others, or in determining whether mistakes can be accepted.
It is Darwin’s love of nature, where I appreciate his thinking in the understanding of the simplest forms of life to the most beautiful wonders in nature and our connections to this world.
I would also like to talk to the Dalai Llama as he talks about kindness and compassion and its connection to self-empowerment. I think he would give me a different perspective on my thought process to open my mind. Confidence is one of the things that hold me back in my work and self-belief would enable me to believe that I can achieve anything.
Being insecure in your thought processes leads to insecurity, but by overcoming this can motivate me to become a stronger person. Which inevitably will give strength to my work.
Why did you choose them? What ideas or disciplines do they represent?
As we were asked to choose outside of an art setting, I explored two exceptional men. Each with a profound sense of understanding within each field, one scientific and one spiritual. I believe that both of these crossover, as with the arts and many other disciplines. By looking away from my work to a different discipline was interesting in the way other people think. But this enabled me to see that my work could be influenced by accepting my thoughts are valid, but if you implement change in yourself it will influence the way you approach your work.
Reflect on how these wider voices help you think about your practice.
Evolution is the first thing that comes to mind when I think of family history and how we as a human race have changed through the new technologies emerging every year. Whilst my work will concentrate on family history, its important to recognise this. It allows acceptance of change and all that involves.
Within my own work, I recognise that over the course, I have changed as a person and as an artist. I thought my mistakes were ‘mutations’ that did not warrant further investigations, but similar to Darwin understanding his acceptance of this is thought provoking and allows me to be less judgemental, allowing work to progress naturally.
By looking back at previous sketchbooks, there is an evolution from the very first naïve work to more refined work. So I can see that evolution happens, just by accepting a situation.
Exercise 3: What’s going on? Aim to soak up what’s happening at the moment within arts culture generally.
There is a movement within the art world to preserve the history of the past, from art, to documents to many others things. This shapes our identity as a human being, but also this helps us to remember historical or general facts. This in turn makes our ability to understand complexities in remembering everyday occurrences and to learn from it. Collective memory is a way of understand who we are and how we learn from each other. But by understanding the data from the past, in the present, informs the future. By protecting these documents it allows us to reflect on the past and learn from the things that we have done wrong. Similar to my own work, where reflecting on my own work, gives a more informed look at the successes and failures.
The unesco memory of the world project is a collaboration
https://ich.unesco.org/ this I will explore more. This show that this project can be mutually beneficial in understanding differences between the world. This is especially relevant today.
One particular article is aimed at freedom of expression where political, or cultural views are suppressed called ‘Reshaping policies for creativity: addressing culture as a global public good. Often or not people are threatened for their views and we have to be mindful of this when creating art as not to offend.
Flag local places you can regularly visit or websites, where you can keep track of evolving trends.
Museum of Carpet, Kidderminster
Lavish Living: Worcestershire in the 1950s exhibition
The Rising The Rising is a free seven-day cultural festival dedicated to tattooing, fashion and gaming, bringing new opportunities for young adults to explore art and culture in unexpected ways.From a tattoo exhibition to a fashion show, from panel discussions to VR experiences, The Rising promises a unique mix of events, taking place in locations across Worcester City Centre from 10 – 16 October 2022.
Atmosphere Atmosphere, an outdoor Spring festival inspired by our environment and the natural world, took place in Worcester on 9 and 10 April 2022.
The two-day programme of live performances, workshops, talks and activities designed to delight, inspire and captivate all ages took place in Cathedral Square, Worcester and Worcester Woods Country Park Light Night Worcester 2022 Light Night Worcester returned on Wednesday 23 and Thursday 24 February 2022, bringing light, joy and fun to the city centre.
Nikki Parmenter is a Cheshire-based artist who specialises in mixed media, textile based pieces. She takes inspiration from a variety of sources and is particularly interested in how ancient societies created visual symbols to represent the things which were important to them. https://www.nikkiparmenterartworks.com/gallery
Marion Steele – Steelecolours
Make a list of your observations. What caught your senses?
There were lots of variation in techniques and although the art was not all embroidery. There are some interesting ideas in design and composition. Jane Arthur in particular stood out due to her finished pieces looked unfinished in my opinion.
Feature on Textile Artist February 2019, Learn to Stitch Textile Landscapes like a Master.
Strange Beauty in Hand/Eye magazine Feature article and interview ‘Material Girl’ in Pretty Patches magazine January 2018
Exercise 4:Who’s saying what? Identify/reference publication Key themes/ideas/debatesWhat is your opinion?How can you join in?Identify your findings?How does it inform your work?
Access specialist trade and academic publications,practitioner blogs, and/orforums to get a sense of who is saying what about your discipline or areas ofinterest.
Identify (and reference) suitable publications that discuss your discipline
What are the key themes, ideas, or debates that are taking place now?
The hand of Friendship tackles the topic of Asylum and the title evokes a sense of inclusion, respect and warmth.
Using embroidery as a visual expression into the controversy of the debate and ultimately the effect on Asylum seekers. Stitches are placed strategically over typeset words, highlighting specifics of the original speech. The stitches are a tally of those seeking asylum and the indignation of the artist to the plight of the indiviual and the ‘inhumane’ delivery of transporting to Rwanda.
What is your view or position on these topics?
It highlights the needs of individual cases. I agree to a certain extent, where I understand people need to be safe. But would rather not debate the mass immigration as I find that there is a danger as to the motives of some people. That is my personal opinion.
How do you join in with the conversation?
As i have strong beliefs on this, I would find it difficult to discuss this in depth. However, if I would just concentrate on the asylum issue, I feel as a country we do try to help others in need but as a small country and in the current financial climate this is difficult when we have people on the streets. There is a need for housing and we just dont have the resources to help everyone, with so many people coming in and see this as a solution again depending on individual circumstances.
Summarise your findings
Debate is always a good start to keep conversations going. But this is always going to be a diversive subject. Visually the art above does promote further thinking.
How can these help inform your practice and research within Stage Three?
Researching debates such as this show how other artists utilise skills in an informative way. Without the need to voice this. A bit like a silent discussion that is thought provoking, which is an interesting concept.
Research task: Practitioner statements
Find examples of how other creatives have framed their work throughwritten statements or descriptions.Consider the followingpoints whenviewing practitioner statements or when developing your own:
How does the statement get to the heart of their practice, or make youwant to find out more?
Susan Brandeis’s artists statement says ‘making a textile is a kind of magic’.
She describes her passion into textiles due to the repetition and pattern rhythms, complexity of colour contrasts and relief surfaces. And describes how she like the simplicity and meditative feeling of the work and feel of the material.
How is practice and research discussed, how is it connected?
There is a connection with the human spirit and explains that the process feels natural becoming an unspoken ‘language’. She uses life experiences to develop her work through processes such as printing, piecing, dyeing and weaving which complex stitching.
Is the language easy to understand?
yes, I felt that I was drawn into what she was saying and believed her words and wanted to know more about her work. which I havent looked at yet, as I wanted to see what she said before judging whether I liked it or not.
What intrigues you?
There is a sense of narrative which she explained was drawn from ancient text, symbols, exploring dementia and the lostness that is so often observed. Creating marks and stories intertwine and that is quite fascinating.
Exercise5:ConnectingwithopportunitiesResearch/map opportunitiesFind contact to ask questionsOpportunities that you can connect withEnterprise hubConversations with othersNotes on research/opportunitiesreflect
Identify suitable opportunitiesfor visits, live projects,collaborative projects,student competitions, or conversations with other students.
Research and map the idea of opportunities you could connect with.
Make preliminary contact to find out details or ask questions.
waiting for confirmation to collaborama/TO DO LIST
Identify opportunities that could become part of your project work.
Visit the Enterprise Hub to find out more.
Start conversations with others.
Keep notes on the research process, and any opportunities you take up.
Reflect on how these opportunities have helped shape your learning?
Identify opportunities that could become part of your project work.
Visit the Enterprise Hub to find out more.
Start conversations with others.
Keep notes on the research process, and any opportunities you take up.
Reflect on how these opportunities have helped shape your learning?
Exercise6:What does the future hold? Reflect on researchWhat will your discipline look like in the futureWhat do you want to achieveConversation with students about current trends/change/ambitions for futureReflect on research through discussion.
Speculate on the future of your discipline and your own practice.What doyou think is going to happen in the next five or ten years and what is drivingthese changes? What ambitions do you have?
Reflect on the research you have done around locating your practice.
Initially I didnt think I would find a lot of information, but that was a little naiive. By doing the exercises has made me think deeper than I would have and starting to understand what is important to me. I did think this was a personal journey for self achievement, but this has opened my eyes and starting to think that I could become an artist. I have learnt a lot about myself as a person and what I think or feel. But moreover about what kind of art I want to make and why. These exercises has allowed me to look at the whole process in a different way and feel a little more confident in progressing my work.
Extend these ideas into the future – what do you think your discipline willlook like in five or ten years time? What is likely to change?
Future work will change as a result of my new found knowledge. The more research I do the more possibilities I see for it to evolve. I am beginning to think of family history and some of the more complex latin that I have to do and maybe I will change direction into historical writing which are embroidered.
What ambitions do you want to fulfil for your practice?
Im not really sure how to answer this, however, I want my work to inform people, to make them change their view of art and what it means.
Start a conversation with other students about current trends, drivers forchange, and your ambitions for the future. This is on my TO DO list.
Reflect on your findings and feed these back into how you shape yourpractice and research.
Overall, I have found that my confidence holds me back, so this will be an area that I need to work on. And to continually read, research and experiment. I am beginning to understand the commitment to these practices that will change the way my work evolves.
These of some of the artists that work in a similar way to myself, whilst all very different, where stitch is the focus. I will look at their work in more depth in the coming project.
this was my initial research into faces exploring lines, memories and configurations. It wasnt uploaded at the time as was unsure of what was needed as the course materials was confusing
HUGGYWITCH TEXTILES 
