Assignment 5-Reworked and Commentary.

Commentary Reworked

As this assignment was my last I can’t pretend that I found it any easier than previous ones. I understand the processes involved and that everything needed to be covered so that I could make a decision on which disciplines I wanted to study further but it hasn’t been easy.

Looking through my assignment I can again see what had gone wrong and the lack of conversation about the exhibition I had seen really shows. I need to remember that just because I have seen something and am trying to relive it in my own words, not everybody else has and my words aren’t theirs.

I have tried to incorporate more of what my tutor mentioned about identifying the piece as a sculpture in his own right and how it ties in to the whole exhibition.

I have taken out comments that start with ‘I don’t know’ as again to a reader of the piece it doesn’t bode well if they wanted to go and see the exhibit.

I have added a new photograph of the washing machine piece to show the red washing in that particular part of the exhibition. I feel that you need to see it to understand what I have written about it and to see if you feel the same way.

I found that I had more to say about the whole exhibition once I had revisited my original piece and seeing the connotations between domestic bliss and domestic violence. It all suddenly started to make sense when I researched the history of Punch and Judy shows further.

I have taken out the parts about the blanket stitch being used on the sculptures face as I couldn’t be certain if was a blanket stitch or a running stitch. It was best to omit it entirely as it didn’t really have any bearing to the piece as a whole.

Again this is lack of original reading and preparation on my part and having only seen the exhibition three weeks previous to writing my final assignment I realise I still hadn’t processed my notes or thoughts correctly. This is bad time management from me.

I have looked through my references and added to them further by reading more about the exhibition and the process of making felt and including better quotes and adaptations.

Looking through my final commentary I can see the disdain in my voice over my decisions on what to study next, which after a false start in printmaking I am now studying art history.

I am still uploading my learning log paper pages to my online log so I can send it off for assessment next week and even though this isn’t expected, my tutor explained it would be useful to have a paper version of my log  to show various gallery ephemera I have collected and to keep as a physical record.

I still feel what I originally said about going back into education after a big break when your older is true as the carefree college days are no more and with life, work and other general daily stuff you really have to push yourself further to be able to get the work done and understand it.

I feel I have a better understanding of the arts and what it is I want to be able study further in the future.

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Conclusion to Assignment 5 and Feedback.

Reaching the end of my fifth and final assignment has felt more of a  milestone in many ways. From losing the will in part two creative writing to getting back to it in part four photography and then realising quite quickly that textiles and any studying of it full time isn’t for me.

I have spent an awful lot of time worrying about my final assignment and also the following assessment of my work. I know that this is silly and I can ask for help but once the fog has cleared a bit from the past few months I will be submitting in January.

For my fifth assignment I looked at how textiles play a key role in their environment.
I chose to analyse and explain the fabrics that I came across on a visit to the Grundy Art Gallery in Blackpool, to see the exhibition- Love Life 2 by Jonathan Baldock and Emma Hart.

I enjoyed the richness of the exhibition and the ways in which textiles and colour were used within it. I have started my assignment based on the feedback I received and this goes for the previous four as well. I can see now with the assignment feedback I received that I have made mistakes and have not always been very clear in the ways in which I wanted to say something. I haven’t always expressed my views in the best way, a bit like this corker- ‘I have chosen to look at the installation which was a giant head made out of felt stitched together.’ I can now see that ‘giant head’ isn’t the best way to describe something no matter how much it looks like one.

DSC_1521-1-2

I have felt that my tutors feedback has always been constructive and it has pushed me to look again at what I have written and how I have described something. Once what I have written has been questioned and that ‘something’ has been pointed out, I see it and I usually feel a bit silly for not seeing it in the first place. This is all part of the learning process so I try to use it for the better. Read and read again.

 

As I have worked through each project in part 5, I have been surprised at how much we use and rely on textiles and how their usage is everywhere. The sustainability processes interested me greatly and how we can be better at recycling and making clothes last. The print and pattern sections I also enjoyed as picking any fabric or fashion designer to research will give you so much to go on. I chose Matthew Williamson for some of my research and I became embroiled in all of his variations of prints and patterns which stem across clothes, settees,wallpaper and jewellery.

The parts about the cut of an item and how it is styled to fit and move was very interesting as again I didn’t know much about the details that go into clothes making.  The artists research into the context of textiles was also very interesting and showed me artists I had never heard of before and this made me look into their work further such  as Christo and Jeanne Claude’s-surrounded islands.

I found by researching the Chanel cat walk shows I became obsessed with the events as a whole, the fashion, the music and how it all works. It is the parts like this I found interesting and really brought the section to a good rounded end as it tied in well from the beginning of fabric production to the end design stages and finished products.

I feel my learning log has progressed well and even though I still have a lot of posts to catch up on such as writing about exhibitions I have visited this year, I am happy with it and it runs smoothly and works well within the sections. I hope for it to become a go to for myself as a research blog as well as for my course tutors to see.

I think I have gained a lot from this first course as it has given me a very clear idea on what it is I wish to continue with, what I find interesting and what I do not wish to pursue.  I look back now over part 5 and I was very excited to be starting it but coming to the end I have decided that textiles isn’t something that I wish to pursue further. The whole point of Creative Arts 1 is to give you a choice and an introduction to each medium ready for your chosen pathways and I think visual culture and art history research is what I would like to continue with.

Project 4- Exercise 1- Fashion Image.

Fashion Photography of 1950s by Norman Parkinson (5)

Barbara Mullen at the Red Fort, British Vogue, November 1956.- Norman Parkinson.

http://www.vintag.es/2014/12/amazing-fashion-photography-of-1950s-by.html

SilhouetteThe way that the outer jacket of the outfit puffs up doesn’t really give any silhouette. I think if the model was standing you would see it better but you can see that the skirt is very slim fitting like a pencil skirt so this may give more of a shape.

VolumeThe volume of the outfit is seen in the size of the jacket. Quite a lot of fabric  has been used and the creases in the top from the shoulders makes it look oversized.

DrapeI would say that the main drape of the fabric is on the jacket and can be seen with the way it falls on the models shoulders. The skirt looks like a long pencil with a split up the front so if it is a two piece it would go well together with the size of the top and the thinness of the skirt.

Movement – The movement aspect for me comes from the creases in the top, which I think is a cape from looking at it again.

Colour –  As this picture is in black and white it is not a very good indication of what colours there are to see, but lets as a guess say it is white. If the tiles are like those Moroccan ones then they will be vivid blues,  greens, reds and whites mixed together and the ladies white outfit will contrast against those colours. It could be pink though? Or powder blue?

Print/PatternThere doesn’t seem to be any pattern but it does look furry like maybe mohair.

What is the context of the garment?

To me it looks like an autumnal suit for going out and about in. The model is wearing very 50’s inspired clothes and the hat is lovely. I can imagine if I managed to find this picture in colour it would be very bright and we would be able to see all of the fabric and the how the background compliments it.

 

How do you relate to the image?

To me I relate to the hat more as it is a really nice shape and even though this is 1956 it is still quite 40’s in design. I am going to guess that it is bottle green in colour. It is very french in design, classic and extravagant. It gives a look of style and glamour that you can wear where you like, anytime.

Is the model important?

I think her pose is important as it looks religious. Either that or she is too hot in the mohair and this was taken in the summer. I am going off the tiles and the way her face is lit. Summer shade can still be harsh. She looks like she is either at a party, going to one or coming back from one and has had a little rest on the way back. Her whole image here is mysterious and as if you won’t know what she is really up to.

 

Research Point- Notes on- Mary Katrantzou.

‘Mary Katrantzou launched her label in 2009 but the digital print illusions and colourful trompe l’oeil have given it a look that’s instantly recognisable and utterly unique and has made the young Greek designer the talk of London’

https://www.farfetch.com/uk/shopping/women/mary-katrantzou-ella-jumper-item-11851937.aspx?storeid=10158&from=1&rnkdmnly=1-accessed 9th September 2017.

The room on the woman and the woman in the room.

Bright, geometric, printed, eye catching, printed, Aztec, silk, short.

‘Last season, Mary Katrantzou’s tour de force of interior-exterior decoration put “the room on the woman.” So she said. This collection was more about “the woman in the room.” Stated the designer backstage today, “It’s more fluid, more real.” But the “more fluid” her “more real” got, the more you were left in the same jaw-dropped state of irreality that her Spring show had induced. That was mostly because Katrantzou imagined the woman as a connoisseur, surrounded by objects of beauty like Fabergé eggs, Meissen porcelain, cloisonné enamel, and Ming vases. And all of them were reproduced in hyper-vivid prints. The koi in one print were all but swimming before your eyes’

https://www.vogue.com/fashion-shows/fall-2011-ready-to-wear/mary-katrantzou-accessed 9th September 2017

The room on the woman aspect of this research point to me means either- the woman and her shape is used more than the clothes. Highlights her figure and the clothes sit well maybe? The environment she is in and who she is, is reflected in her clothes?

The woman in the room to me is all eyes on her, her clothes, the way she moves. Having all of her things around her portrayed in her outfit, her lifestyle?

00030fullscreen

https://www.vogue.com/fashion-shows/fall-2011-ready-to-wear/mary-katrantzou/slideshow/collection#3-accessed 9th September 2017

I like the colours she has used but that is probably all. It is very clashy and I would have years back worn such things but I just think it is a bit messy and I don’t really like it or feel anything for it.

Research Point- Pattern and Print.

Finding examples of pattern and print that are found on the high street or by designers.

There were quite a lot of pattern designers I could think of that were twee and to be honest everywhere, Emma Bridgewater, Cath Kidston etc. So I chose to look at Matthew Williamson. Mainly as I went to TK Maxx and saw a dress of his in there last week.

‘Do you think the use of print and pattern is primarily about aesthetic considerations or is it in part an attempt to create an identifiable brand that can then extend to other products such as fashion accessories, household items etc?’

Matthew Williamson

To me he is known for his big statement pieces and for his butterfly prints. I tried on one of his dresses in Debenhams years ago and yes it was nice, in fact it was beautiful and yes I flounced around and did a sashay but I couldn’t afford it plus there were no sleeves or pockets so it was a distinct no. However his prints and designs are well-known and here are some of his designs.

http://www.myfashionlife.com/archives/2009/03/27/matthew-williamson-for-hm-special-pictures-video/
http://phashion.net/2009/05/24/matthew-williamson-for-hm-hes-designing-for-the-best/

matthew-williamson_look-1_2522

https://www.matthewwilliamson.com/shop/product/12508/blue-andean-artisan-belted-maxi-kaftan

He keeps his designs true to his style but his new range for 2017 is very Aztec and tribal based. The large geometric print can be transferred onto almost anything. You can see this with this butterfly and peacock feather designs. They can be inverted, colours changed and made smaller to be used on lots of different things. You could have a blue peacock print dress, with a smaller pink peacock print scarf and small gold peacock print bag to hold your peacock print notebook. It is even on wellies!

img_0005_1

https://www.matthewwilliamson.com/shop/product/4118/havaianas-peacock-rain-boots

As his designs branch out from clothes he also has a wallpaper line, which once I found I fell into and wanted all of the paper. £118 a roll.

 

http://www.janeclayton.co.uk/product/peacock/38275http://www.janeclayton.co.uk/product/peacock/38274

The Peacock feather pattern as well as the butterflies are quite synonymous with his style but in recent years he has become very floral, still with the vivid prints and patterns.

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https://www.matthewwilliamson.com/shop/product/11474/narissa-butterfly-wallpaper

The butterfly design has been scaled down a bit here and although still recognisable they are put into frames and printed onto the wallpaper. I like it very much but I wouldn’t trust myself sticking it up on the wall.

matthew-williamson_look-34_0281

https://www.matthewwilliamson.com/shop/product/11984/leopardo-peacock-heart-printed-notecards

The note card set has his peacock design but with a leopard print mixed in. The colours, the golds and the opulence is wonderful and one day this will be my notebook.

I think his brand is identifiable as his. People recognise and know his patterns and they can be and have been transferred onto other items, such as wallpaper and notebooks and also furniture. Look at this butterfly settee!

duresta_0073.2_2_1

https://www.matthewwilliamson.com/shop/product/10265/jade-marble-butterfly-tango-sofa

You can see all of the beauty on his website here- https://www.matthewwilliamson.com/

All websites/images and links accessed 7th September 2017.

Research Point -Chanel’s Tweed.

As with most of my internet searches when trying to research the most unoriginal words can give very good results. I typed in Coco Chanel Tweed and this beauty turned up; http://inside.chanel.com/en/jacket/video-accessed 5th September 2017.

tweed

Karl Lagerfeld- http://inside.chanel.com/en/jacket/sketches/tweed-accessed 5th September 2017.

Further research brought me to this link- http://www.vintagefashionguide.com/2014/10/vintage-chanel-jacket-sets-apart/-5th September 2017

and this- http://www.elle.com/fashion/news/a15402/the-story-of-chanels-tweed/-5th September 2017.

54a789b5dd90c_-_elle-chanel-00-h

http://www.elle.com/fashion/news/a15402/the-story-of-chanels-tweed/– Accessed 5th September 2017.

If I had the money I would have many tweed Chanel suits. I would swan about with a spritz of my very precious Coco on and feel like I have arrived. Unless I find one in the charity shop for £5 or under this isn’t going to happen but my duty free Coco saves everything.

Chanel Autumn 2013 ready to wear collection-

This is all new ground for me, I love clothes but I don’t spend hours looking at the latest things or expensive stuff so to look on these websites at all of these things was like a secret tweed world.

 

 

 

 

http://www.vogue.com/fashion-shows/fall-2013-ready-to-wear/chanel/slideshow/collection#82-5th September 2017

It just so cool! The music, the clothes,the fabrics, the settings, I became embroiled in a YouTube void like this where this is a bit of tweed as well;

 

Obsessed.

All websites/images/links/videos accessed 5th September 2017.

Project Four- Research- Enveloping the Body.

Looking at fashion images and the textile qualities the photographer has brought to the fore.

Firstly I looked at Irving Penn.

‘Irving Penn (June 16, 1917 – October 7, 2009)was an American photographer known for his fashion photography, portraits, and still life. Penn’s career included work at Vogue magazine, and independent advertising work for clients including Issey Miyake and Clinique. His work has been exhibited internationally and continues to inform the art of photography.’

https://en.wikipedia.org/wiki/Irving_Penn-5th September 2017.

irving_penn01

http://monovisions.com/irving-penn/-accessed 5th September 2017.

Textile qualities;

Silhouette

Volume

Drape and movement

irving_penn04

http://monovisions.com/irving-penn/-accessed 5th September 2017.

Textile qualities;

Silhouette

Volume

Drape and movement

 

Mario Testino

‘Mario Testino OBE (born on 30 October 1954) is a Peruvian fashion and portrait photographer. His work has featured internationally in magazines such as Vogue, V Magazine,Vanity Fair and GQ. He has also created images for brands such as Gucci, Burberry, Versace, Michael Kors, Chanel, Stuart Weitzman, Carolina Herrera, Estée Lauder and Lancôme.’

https://en.wikipedia.org/wiki/Mario_Testino-accessed 5th September 2017.

Mykonos-by-Mario-Testino10-700x906

https://fashion.photogrist.com/mica-arganaraz-rianne-van-rompaey/-accessed 5th September 2017.

Textile qualities;

Silhouette

Volume

Drape and movement

Mykonos-by-Mario-Testino5-700x906

https://fashion.photogrist.com/mica-arganaraz-rianne-van-rompaey/-accessed 5th September 2017

Textile qualities;

Silhouette

Volume

Drape and movement

 

Sarah Moon

 

‘Marielle Warin was born in Vernon in 1941. Her Jewish family was forced to leave occupied France for England. As a teenager she studied drawing before working as a model in London and Paris (1960–1966) under the name Marielle Hadengue. She also became interested in photography, taking shots of her model colleagues. In 1970, she finally decided to spend all her time on photography rather than modelling, adopting Sarah Moon as her new name. She successfully captured the fashionable atmosphere of London after the “swinging sixties”, working closely with Barbara Hulanicki, who had launched the popular clothes store Biba.’

https://en.wikipedia.org/wiki/Sarah_Moon– accessed 5th September 2017.

sarah-moon_05

https://boxandline.us/2010/07/30/sarah-moon/-accessed 5th September 2017.

Textile qualities;

Silhouette

Volume

Drape and movement

sarah_moon_2

http://thefasign.com/2016/08/02/sarah-moon-qui-e-ora-ici-et-maintenant/– accessed 5th September 2017.

Textile qualities.

Silhouette

Volume

Drape and movement