Project 10 - achievements

Looking through all the work, there is a clear progress from source material to final piece. There is also other work and ideas in the themebook that is irrelevant tot he final piece, but I felt the way I worked best, was to collect as many ideas on the subject of shadows as I could then see what ideas flowed from them all. I also found that once I had settled on an idea, I then had to go back and make more sketches to develop my idea further.

I feel the whole project worked well, and I made enough sketches to inspire me, yet not enough to waste time on areas I wasn't going to follow. I feel it would of been very easy to go down lots of different routes, but I made the right decision to focus on one idea pretty early on. I would of liked to explore my other ideas further, particularly the idea of creating shadows different from the images themselves, but after looking at various shadow artists, I felt I didn't have the time or skill to do this justice.

I really enjoyed making the final piece, and seeing it looked exactly how I had planned. The hardest part of the project was trying to go through the stages in the course book (i.e. making a storyboard), when I already had my idea of what I wanted to make and how I wanted to get there (make samples and test on fabrics).

I'm really happy with my final piece, and it's something I would actually want to buy if I saw it in a shop. It's really exciting, as this is the first time I have felt this way! Maybe if I did it again, I would research more fabrics, to find something that was as thin, but silky looking - it has more the appearance of netting than silk - a pongee 2 if it exists?

Other artists

After making my final piece, I come across 2 artists that have suprising simular ideas. I was a little concern after seeing them, and didn't know if I should mention them - over fear it might look like I had copied them. But I guess as this is a learning log for myself, I will reference them.

Caroline Bartlett created Conversation Pieces from observation of a museum collections. Pairs of hands framed in embroidery hoops and layered with text from the museum’s archive suggest the variety of contacts textile collections are exposed to, from maker and historian to curator and conservator. Moving around the work, the printed imagery fades in and out of focus just as each individual’s relationship to the object bares different levels of clarity.

With simular imagery, Esther Yaloz produces beautiful screen printed layered flowers.

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