Further adjustments to assignment 6 after tutor feedback

Once again my tutor has given me very in depth and helpful constructive criticism which I am using to try to improve my submission for this assignment. Unfortunately I am running out of time. With the deadline for the November assessment event at the end of September and having had a holiday at the beginning of September I wont have much time to get any amendments done.

On the indicative photographs my tutor had commented that: ‘The ‘pile of cushions’ image, though a simple idea, communicates your fabrics as a collection well, contrasting the changing scale of motif and density of pattern’. I had agreed, I liked the stack of cushions and will be presenting this picture as part of my assessment submission as part of a selection of the best photographs that i took for part 6.1 and 6.2.

On 6.3 – Trend book continuation she had said ‘This summarised your Brightly Light project well. The photos of layered fabrics presented the fabrics as a collection beautifully. The presentation is clean and minimal, and it’s great to full pages for some of your imagery. Some of the images were quite similar, so you could perhaps remove a few to make it more succinct (or crop some to make them look more different).’ I have taken another look at this and removed a couple of pictures that were very similar to others, I also made sure that the photographs that were not my own were referenced in the back cover as she suggested. This little booklet now flows much better and is a good accompaniment to the samples and other work.

On a similar note I also swapped the images on the illustrated proposal for deconstruction to show the image of the panel at the top rather than the specification.

My tutor thought that my 6.5 Independent Project Presentation The proposal read well, setting the scene of the theme. but felt that some of the description could be more evocative. ‘E.g. instead of “artificial mood lighting”, describe the quality of the light – is it dim, soft, harsh… What is the “mood”? Does the light change / move or is it static?’ I have now added to this description to make this better understood.

She also made a couple of other suggestions; ‘Perhaps the plastic could continue almost 360 degrees, with light shining through the floor, so it is more enveloping, immersive and claustrophobic. Or change the box to a more amorphous shape with a smaller entrance….’ I originally designed it as a cubicle or box and as discussed in the earlier work it would need to be a very simple shape. I tried visualising it as a tunnel (like you would have at an aquarium) as I hoped that this could be even more immersive. On reflection I feel that as aquariums use this model it could just end up making the audience see it as such. I originally chose the rectangular shape as it is suggestive of being confined or trapped, rather like a cage or coffin. I also feel that it would work better in a smaller gallery situation. I have also decided to stick with the sand substrate on the floor as I really wanted the effect of walking under the sea with the masses of waste surrounding you. More of the embroidered fish carcasses could also be placed on the floor to add to this sensation.

I have decided to keep the debris booklet as part of the proposal, choosing to include some of the new indicative photographs in the exhibition proposal itself as well as in the shortened version of the booklet. This along with my sample portfolio that goes with the project should show it in a much better way.

I tried to take some indicative photographs of the sample but it really was very unsuccessful. I cannot seem to get a decent shot of it no matter what I do. I did manage to get some photographs of the sample itself but it is far too small to get an indicative shot of someone standing in front or behind it. It requires light behind it to show it at it’s best but not light around it as this reflects off the shiny surface. Eventually I managed to take a photograph of my Husband standing in front of the sample and cropped it to remove all other detail making it looking as though he was stood looking through the wall of the installation. I altered this picture to enlarge the sample itself to make it more believable as a picture of an installation.

20180926_195210-1-1a

I really wanted a silhouette through the sample but was unable to achieve this as its a little too opaque and I don’t have strong enough lights to light it correctly. I managed to Photoshop an image for this purpose which worked. Getting the opacity right was a little tricky as too much created an unrealistic look I wanted to achieve a very feint silhouette to be believable which I think I achieved.
sillouette

I also updated the ‘debris’ pamphlet to reflect the new material. I am much happier with the new version, I think it advertises the installation well and gives a sense of what a gallery could expect.

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TX2CC Assignment 6 tutor feedback

Formative feedback

Overall Comments

The fashion trend book is the strongest output, having benefited from the development work from ex.6.1. There is less work than expected in response to some of the other exercises, however, particularly for the debris project, where one existing idea has been visualised without evaluating its strength or considering alternatives. The written proposal is a suitable communication tool for this project but the visual aspects lack development, and the presentation of the imagery in the same format as the Brightly Light trend lacks analysis of the context and consideration of how the aesthetic of the theme could inform the presentation.

Feedback on assignment Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity

6.1 Indicative photography: You’ve explored different angles and compositions to visualise your fabrics on the body. Whilst the garden relates to the butterfly, you don’t mention how it communicates the Brightly Light theme. You identified that “a black top or dress beneath rather than the blue would focus the eye more onto the fabric”, and the same could be said for the background. For example, how would a flat background colour change the aesthetic of the image? The garden images vs more minimal background could have looked starkly different. Where would you expect to see such imagery (e.g. Vogue, Sunday supplement, fashion catalogue etc)? Whilst the garden background was justifiable, a stronger research method would have been to test more widely and then evaluate which approach worked best. I decided to use the garden not only due to its relevance to the butterfly but also for the light and for the flowers in the background. We were asked to consider backgrounds in the course notes. At the time I felt that a plain background, white for example would remove some of the feeling of fun found throughout the aesthetic and that it would feel too stark. As it happened, as the project progressed I did move towards a plain background  for the final drawing as I felt that the backgrounds distracted the eye from focusing on the fabrics.

The interior context posed more problems for you to solve, as you fought with felt to make it curve around the cushion. The rug worked well, as the solidity of the felt made it a believable product. Your exploration is more varied than the fashion photos, with more varied products tested. The ‘pile of cushions’ image, though a simple idea, communicates your fabrics as a collection well, contrasting the changing scale of motif and density of pattern. I agree, I liked the stack of cushions and will be presenting this picture as part of my assessment submission. I didn’t choose it as a final image as the brief was to choose one fabric to develop and the picture showed the whole collection.

The art textiles in the windows resulted in some nice imagery – the fabrics were enlivened by the light coming through them. I agree, this is why I particularly liked the outcome of that project. Creating transparency is something I enjoy using in my work. I love the interplay of layers to create combined views, as can be seen in my debris work too.The evaluative questions at the beginning of 6.2 have given you a good structure in which to critique your work, though some of the answers could have resulted in more analysis of the work itself. “How successfully do the images communicate the context and whether the sample could be developed into the product type explored? The plain painted walls give an exhibition feel to the work and communicate the context of art textiles well.” The white walls confer the feel of a gallery but how does your work respond to this stark environment? You’ve evaluated the images but consider also what it teaches you about the work. I have added a short paragraph about this point.

6.2 Propose in context The exploration for this part could have been much more varied, particularly in the interior context where there was potential to play with scale of motif on the chair. In the art textiles section, the quick drawings of ways to mount the work showed you using drawing to think about the communication of the work in more depth, which was great to see – more of this kind of thinking-through-drawing would be great to see in the sketchbook. You’ve made a good attempt to capture the transient colour of the organza fabric in the Brightly Light theme. The cuffs you’ve researched are made from hard materials, which have a very different commercial context- more research into relevant contemporary textiles products would have been beneficial. More analysis of this product context in contemporary fashion design could also have led to a more ambitious garment type being chosen. I must have misunderstood the instructions for this part a little. I thought we were to propose the use of our fabrics (that we had already produced) in context. This is why I didn’t alter the scale of motifs for example as the collection had already been produced. I couldn’t find any images of similar fabric cuffs (or bracelets) when doing my research. The sample lends itself to many different garments as investigated in the indicative photography where I showed it being used in a number of ways such as a shawl (or wrap) which, when I was originally working on the project was the end use I had in mind (as shown in my drawings at the end of assignment 2. Once I took the photograph of the sample around the wrist it looked a much more exciting proposition than a wrap or shawl so I chose to develop it in that direction.

6.3 – Trend book continuation This summarised your Brightly Light project well. The photos of layered fabrics presented the fabrics as a collection beautifully. The presentation is clean and minimal, and it’s great to full pages for some of your imagery. Some of the images were quite similar, so you could perhaps remove a few to make it more succinct (or crop some to make them look more different). I will take another look – thank you

6.4 Illustrated Proposal The proposal describes the concept well. The imagery on the front could be a little more seductive; the plan communicates the space well but it is technical drawing, rather than a rich image to entice the viewer. Consider presenting images of the textiles first, with the technical image on the reverse. A proposal is a marketing tool! You want to win that commission / exhibition! Thank you I will do that!

6.5 Independent Project Presentation The proposal reads well, setting the scene of the theme. The third paragraph becomes much more specific about what you want the audience to experience. Some of the description could be more evocative. E.g. instead of “artificial mood lighting”, describe the quality of the light – is it dim, soft, harsh… What is the “mood”? Does the light change / move or is it static? Thank you, I was struggling to find the words! Something to also consider in your evaluation of this work is that it is likely to be quite beautiful – the colours are rich and seductive. How can you create the feeling of unease or disorientation linked to the concept, so viewers don’t just enjoy the aesthetic? Perhaps the plastic could continue almost 360 degrees, with light shining through the floor, so it is more enveloping, immersive and claustrophobic. Or change the box to a more amorphous shape with a smaller entrance…. Exploring the visual communication of the work provides the opportunity to evaluate the success of the original idea. You’ve visualised your idea without allowing the process to challenge you to improve it. Thank you, I will go back and take another look. I originally designed it as a  cubicle or box and as discussed in the earlier work it would need to be a very simple shape. I may try showing it a s a tunnel (like you would have at an aquarium) as this could be even more immersive. I do quite like the idea of a sand substrate on the floor suggesting that you are actually walking on the seabed but will try showing it as a 360 degree view to see if that would work better.

Who is the intended audience for the debris trend book? Given that the proposal is an artwork, copying the trend book format is not the ideal communicative tool. The handbook suggests making a mini-portfolio similar to the trend book but not to copy it. The composition of this document -the layout and fonts- are the same as Brightly Light. Given how different the two aesthetics and contexts are, I’d expected to at least see modifications to the format. What would a curator / funder need to see to make the decision about giving you the commission/exhibition? How does the colour palette enhance that person’s understanding of your exhibition proposal? This course has challenged you to analyse contemporary textile contexts, and Part 6 asks you to demonstrate your new understanding. This is a neat summary of the development but does it communicate the concept/narrative of the installation? To be quite honest I really did not understand this part. I have never created a proposal before as I am not an artist (nor particularly want to become one). There was no guidance in the course notes on how this is done and all the information I found regarding producing a good proposal centred more on the illustrated proposal and your artist’s statement. For assessment I will be submitting a portfolio folder containing samples that pertain to this piece and had envisaged the trend book as a summary of the development. I will however take a look at it again and see if I can find a way that makes it work better as a tool to communicate the concept and narrative.

The trend book for ex.6.3 benefitted from the visual research developed in exercises 6.1 and 6.2. It was expected that you would use these methods to develop imagery to communicate your independent project. Whilst you have refined the drawing of the installation, there is limited visual exploration beyond this. Ex.6.5 was the opportunity for you to demonstrate what you’d learnt through part 6, but there is very little new work developed.

Prior to assessment, use skills learnt in exercises 6.1 & 6.2 to visualise your samples as an installation. The mini- portfolio can then contain new work which communicates the form/atmosphere/aesthetic of the installation. Whilst you might not have a large enough sample to photograph as an installation, you could photograph a smaller sample to evoke an appropriate sense of scale and its immersive quality (as you did in ex.6.1). E.g., photographing a sample within a space, as though it’s the edge of the installation; photographing through the sample to capture a silhouette behind it; photographing the samples with ‘mood’ lighting to communicate the atmosphere of your installation. Thank you I will revisit this and make sure it is all included before assessment. I had to submit this assignment before I  had managed to completely finish the alterations for part 5 that you suggested due to time constraints.

 

I also recommended reworking this assignment at the end of part 5, as you hadn’t developed a resolved collection. I think I have seen all these samples before. I strongly advise you to revise Part 5 to ensure you pass at assessment. Yes I have done this now. It wasn’t quite finished when I needed to submit the assignment to get it back before the assessment event.

Learning log: The log is structured well, with selected images used well to illustrate each post and the trend books are so easy to view.

There is minimal proactive research to inform your exploration, which we expect at this level, and there are still many missed opportunities for demonstrating your ability to evaluate your work. For example, in ex.6.1 in the interiors section you include imagery but just write “Other ideas, Left to right: Upholstery fabric, As before wrapped around chair upright, Cushion, Place mat / table runner”. What do you think about these ideas? Which display the fabric best; which are the strongest compositions?

Good evaluation should highlight areas for improvement as well as strengths. More emphasis on analysing what you could do better could have led to the development of a more solid body of work. Similarly, in your end of project evaluation, you often state what you’ve done but don’t explain how or give examples. “During this assignment I had to show a lot of visual awareness, design and composition skills in the making of the images and design proposals. What are the best examples of your composition skills? I also demonstrated using a range of materials and techniques to achieve them. Can you provide an example of where a material or technique was used particularly effectively in relation to the trend, or a technique executed well? I used some technical skills in both the photography and making of the drawings and trend books using both digital and traditional drawing skills throughout.”

“I used my creativity to produce a wide ranging, interesting and varied body of work for the assignment. Where did you do this particularly well? Where could you have improved? Although more technical in some areas than imaginative I tried to imagine what clients customers and audiences require and responded to this in the most creative way I could Where did you do this particularly well? Where did you not do this well.”

Re-working prior to assessment

– Develop a solid body of varied visual research for ex.6.5 based on ex.6.1+6.2. Evaluate and select from this to develop an exhibition proposal with a stronger visual narrative of the installation.

Preparation for Assessment

Reworking textiles: At the end of assignments 4 and 5 I asked you to review and re-work aspects of your course. I can’t find evidence of you reflecting on or acting on my feedback in your learning log. Please ensure the re- worked projects are critically evaluated in your learning log for assessment. Yes I have done this now

Learning log / Research Points: I’ve previously given you feedback relating to proofreading, referencing and critical evaluation. Review all feedback to ensure you’ve addressed the points made. If you are improving older posts, you could add new evaluations to the blog posts in a new colour or date it to make it clear that you’re adding retrospective evaluation. This has now been completed ready for assessment

Presentation: The physical work is usually the first thing the assessors review, followed by exploring the blog. To ensure you communicate your work to its best advantage, ensure the physical submission is really strong, and allow the learning log to play a supportive role. Rather than asking the assessor to hunt through the log to find the photos produced for ex.6.1, for example, print out the strongest images and leave the development work on the log. Part 6 is all about communication and presentation, so ensure that you demonstrate what you’ve learnt in how you present your work for assessment. Thank you I will make sure that I print off the best photographs for 6.1.

The textile tutors have recently written a few blog posts to help students prepare for assessment, which I recommend reading: https://weareoca.com/subject/textiles/textiles-organising-work-assessment/ https://weareoca.com/student-work/textiles-presentation-assessment/ https://weareoca.com/education/textiles-presenting-work-assessment/

Thank you, these were all very useful

Tutor name Cari Morton

Date 24th August 2018

Next assignment due N/A

Answers to your written questions:

– As stated above, I recommend printing selected photos, as these will communicate your work to the assessors with more immediacy. It also helps you demonstrate your evaluative skills in selecting the best and most appropriate images. – Presentation of the trend book as a separate booklet or add to original? Presenting it separately is fine. – It can be helpful to print off the learning log, as you can bookmark where each part starts and perhaps add retrospective notes, however, as you say, it isn’t necessary. Assessors are used to viewing it on a computer. I think for your last assessment you printed off piles of artist research which had minimal (or no?) annotation. You haven’t sent me any of this since assignment 2. Please don’t submit this for assessment either. Any research should be embedded and explored within the sketchbook or log (so it is evaluated and applied to your work).

 

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Assignment 6, Review against the assessment criteria

 

Demonstration of technical and visual skills: Materials, techniques, observational skills, Visual awareness, design and compositional skills. During this assignment I had to show a lot of visual awareness, design and composition skills in the making of the images and design proposals. I also demonstrated using a range of materials and techniques to achieve them. I used some technical skills in both the photography and making of the drawings and trend books using both digital and traditional drawing skills throughout. I do not have a lot of photographic experience and feel that it showed in some of my images although most were successful in illustrating the proposed uses for the fabrics.

Quality of outcome: Content, application of knowledge, presentation of work in a coherent manner, discernment, conceptualisation of thoughts, communication of ideas. I feel that the quality and outcome of each exercise is good, looking both professional and well presented. The work is presented in an organised and coherent manner and each stage is easy to follow and is well communicated. Before assessment I may mount the proposal drawings up to improve the presentation of them. I am a little worried that the proposal for Debris is a little weak. I still have to finish the final samples for this so once they are complete I will add to this. I ran out of time at the end of the course and needed to get this assignment to my tutor to get it back in time for assessment. I am also not sure if this proposal is along the right lines as I have never done anything like it before so am looking forward to feedback on this.

Demonstration of creativity: Imagination, experimentation, invention, development of personal voice. I used my creativity to produce a wide ranging, interesting and varied body of work for the assignment. Although more technical in some areas than imaginative I tried to imagine what clients customers and audiences require and responded to this in the most creative way I could. In the final presentation of my samples I need to used imagination and invention as many are sheer or at least show better with light behind them. This leads to interesting issues when it comes to mounting. I am using acetate panels so that they can be held up to the light to be viewed.

Context: Reflection, research, critical thinking. Throughout the assignment I conducted research into contemporary artists’ ways of communicating their ideas for instance the way that contemporary jewellery designers present their work to clients in the forms of sketches, CAD drawings and models. I spent a lot of time reflecting and evaluating throughout this assignment which helped move the projects along to a successful outcome. I feel that I have not done as well as I could in the research area. For instance for the art textile projects I concentrated on the gallery spaces themselves rather than how things were actually displayed. I feel that more in depth research would have made me stronger in this area.

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Assignment 6 reflection on presentation methods

My reflection on what I have learnt about methods of presenting and communicating my work to various audiences.

During part six I have explored a range of presentation methods, many for the first time. I would usually take some photographs of my work but would not necessarily do them for development and evaluation reasons, generally using them as a final record of the piece. I have never really used photography to move the project on by experimentally photographing the samples in context. This really worked well, especially in the cases of the Brightly Light Cuff and Solstice Chair as the photographs immediately suggested uses for the fabric that I had not considered before then.

The making of the trend books was really useful and something that I will use moving forward. I really enjoyed putting the booklets together and am pleased with the results. They chart the development of the project well and show the progression through the projects. They are also a very neat way to show the project as a whole and gave me the opportunity  to present them digitally as well as in paper form which is much more in keeping with a modern way of working than large display boards. They could be emailed to a potential client or sent on a disk or USB stick saving both waste and postage.

During this assignment I spent a lot of time using the computer for drawing and collaging which is something I have not done a lot of up to now. As the course notes stated, we need to have digital images and copies of our work for embedding within documents such as proposals and websites. This is a consideration that I had not thought about before so is another thing I will take with me from this course. It made sense to use a drawing program alongside more traditional methods especially when it came to more technical specification style drawings.In a way the whole course has made me think in a much more modern and professional way particularly when it comes to presenting my work to galleries or exhibitions.

Applying designs over an image of the proposed context is another thing that I have learnt through doing this part of the course. It is extremely helpful in suggesting new uses for the fabrics I design and the placement of my ideas especially when site specific larger scale items that would be difficult to explain in other ways. It is also helpful in a evaluative situation when deciding scale or form of an item in context.

I have often produced work for entry in wearable art competitions and have presented the idea as a design sketch with fabric samples, usually on a sizable display board. In the future I will be enclosing a written proposal and trend style booklet or slideshow to accompany the design explaining more about the background to the project and the key principles and behind it.

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Assignment 6, Exercise 6.5 – Independent project presentation

During the original design development for the Debris project I produced a very rough sketch of an installation I had in mind for this project. Thanks in part to the feedback received from my tutor at the end of that assignment stating how she felt that the proposal of an installation using these melted plastics could be interesting especially if made from the plastics themselves rather than printing onto acetate as I had originally planned, and the way that the samples react to light passing through them, the idea has changed a little into this proposal. I envisage an installation made of the layered melted plastics making use of the patterns created within them as well as additions of ‘tangled’ masses of fishing wire and ‘plastic sea weed etc. big enough for the audience to walk through. The addition of a sand like floor and mood lighting shining through would give the impression of walking beneath the sea.

The audience for this proposal would be an art gallery or exhibition curator. Having worked through the previous exercises I decided to produce a written exhibition proposal accompanied by a mini-portfolio style booklet summary of the project.

I spent some time working on the computer redrawing the installation as best I could (I still need to practice and play about with the drawing program) and managed to produce a drawing that showed my idea including the transparent layered look of the piece. The smoothness of the digital drawing conveys the shine of the plastic that will be used and the positioning of people inside give it a sense of it’s size although the drawing is not to scale.

 

‘Debris’ Walk-through installation

Julie Hooker

 box2

Debris: Broken or torn pieces of something larger, detritus from the land polluting the sea. Leeching into the water, strangling, suffocating and poisoning all within.

This walk-through installation is in response to the recently highlighted issue of plastic debris in our seas, In our broken, wasteful and troubled world everything is disposable including, it would seem our respect and care for the environment and the other creatures with whom we share the world. It is just one side effect of our nearly broken traditional links with nature and its natural ebb and flow of life.

The devastation being caused by this issue is only just coming to light and will no doubt continue to grow unless awareness is increased and action taken to change behavior. We as a species need to ask ourselves the questions: what sort of future are we creating for our descendants and how can our individual actions shape our planet?  The aim of this installation is to prompt the audience to ask themselves these questions.

Walking into the installation, the audience will get a real sense of foreboding, sadness, fear and threat trying to look out through the seething mass of plastic surrounding them. Their eyes will be prevented from doing so due to the walls being too opaque to see through properly. The artificial mood lighting will add to the claustrophobic sensation of being under the sea with colours changing and creating shadows as the light passes through the plastic flotsam adding to the oppressive storm-like feeling suggesting how the rubbish is putting pressure on and strangling the sea and its sea life.

 

debris

Proposed side and top panels detail

Measuring 5m long x 2m wide x 2.5m high, the installation is designed to be large enough for the audience to walk through and small enough to create the feeling of slight claustrophobia. It is to be constructed using melted plastics stretched over a metal frame making it both portable and re-usable, the re-cycled plastic fabric is beautifully crafted to maximise the subtle patterns created by the overlapping plastics including bubble wrap, plastic netting and plastic bags and tangled masses of plastic rope, fishing wire and stitched items. The effect of being under the sea will be further enhanced with programmable coloured mood lighting shining into the installation and a sand substrate floor mimicking walking on the sea bed.

Below is the accompanying mini-portfolio style booklet summary of the project:

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The booklet presents the journey from the visual research, design development, sampling and final proposal. It helps to explain the journey and show it is more detail so the the written proposal can be kept simple and sharp. The resulting document is visually striking and easily visualises my aims for the project. I am planning to use this as an added ‘back up’ to show the progression of the project along with the the portfolio of refined samples and the illustrated written proposal document mentioned above.

 

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Assignment 6, Exercise 6.4 – Proposals for applications

I have to admit that I have been a bit unsure of how to tackle this exercise. I have never written a proposal for an art gallery so have no idea how to start. The instructions in the brief were not terribly very clear as to what form the proposal should take other than it should be written and illustrated and contain the following:

  • Description of the concept (issues and ideas and how they were explored, focusing on the key principles rather than a diaristic list). Deconstructed textile window panel was originally based largely on the destruction of Aleppo in Syria during the recent war there but also serves to remind us of other wars and conflicts fought closer to home and further back in our collective past, with distant memories of the ruins of Ypres during the first world war and Coventry Cathedral during world war two.
  • The work you propose supported by my proposal drawing and relative indicative photographs, dimensions and fabrics Proposal drawing, dimension diagram, Measuring 127cm x 27cm the work is designed to fit the gallery’s front Chapel style arched window and when backlit by the window, gives the effect of a stained glass. 
  • How you intend to install it (wall mounted / suspended etc. to be installed within the window reveal against the window pane using repositionable temporary fixings.
  • The role of the audience: The transparent nature of the cotton and manmade fabrics used offer the audience to peer through the devastation to their own world gaining a sense of how it would feel to be looking out on their own familiar building at an altered landscape and environment.

There was no guidance as to the required length of the written proposal. I have written just under 500 words and I feel it gives enough detail to make a good first impression and idea of how the piece would look and work in the environment it is designed for. I am hoping that my tutor will clarify this more during feedback.

‘Deconstruction’ Window Panel Proposal

Julie Hooker

 final chapel

 

Demolished, destroyed, deconstructed. Ruined and in tatters, what is left behind is but remnants of the past before conflict. Part of the original remains but in a different altered form, beauty can still be found within the new layers revealed symbolising the hope of reconstruction and new life to follow.

This deconstructed textile window panel was originally based largely on the destruction of Aleppo in Syria during the recent war there but also serves to remind us of other wars and conflicts fought closer to home and further back in our collective past, with distant memories of the ruins of Ypres during the first world war and Coventry Cathedral during world war two.

The devastation and suffering caused by conflict and war to the lives and environment of the innocent population is vast and wide reaching. There is no sparing of the people living in the areas affected by fighting, no sympathy for saving their history or cultural heritage, yet time and again people show such resilience and bravery and they appear to still manage to hold out hope whilst their world including their precious buildings and homes are being taken down almost brick by brick around them. The population have to decide whether to stay or flee, some hoping for a better life elsewhere, some choosing to stay in hope of liberation or that someone will save them. All abandoning their tattered and ruined belongings, memories and past lives and entering a new, altered reality.

I have always been struck by the remnants of life left behind after devastation; fragments of clothing, tattered curtains still hanging in the empty window frames of bombed out buildings and abandoned toys and home textiles once so loved and treasured, strewn around demolished homes. This piece explores these themes by using tattered and deconstructed textiles to create a sense of ruin and devastation against light to show a glimmer of hope for the future after reconstruction and the rebuilding of not only buildings and structures but lives as well.

panel detail

Proposed panel detail

Measuring 127cm x 27cm the work is designed to fit the gallery’s front Chapel style arched window and when back lit by the window, gives the effect of a stained glass. It is designed to be installed within the window reveal against the window pane using repositionable temporary fixings. The transparent nature of the cotton and manmade fabrics used offer the audience to peer through the devastation to their own world gaining a sense of how it would feel to be looking out on their own familiar building at an altered landscape and environment.

 

 

 

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Assignment 6, Exercise 6.3 – Colour and trend book continuation

I have chosen my fashion design collection to continue the development of my colour and trend book. This is to visualise how I developed and manifested my trends within the research, development and proposal imagery.

Following on from the original work in the book that visually communicated the atmosphere of the trend an the inspiration behind the project I developed new pages that present the textile collection and it’s proposed context using photographs of my collection as well as the indicative photographs from exercise 6.1.

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I went back to the original book itself and all my development work in my sketchbook as well as the photographs and drawings produced during this section of the course. I included some of my visual research, my development work as well as my favourite photographs of the textile collection and proposal photographs from exercise 6.1 the selection process took some time as this collection photographed particularly well due to the fabrics used, they caught the light so beautifully.

I really enjoyed putting this booklet together and am pleased with the result. It charts the development of the project well and shows the progression through the project. It is also a very neat way to show the project as a whole and gave me the opportunity (as above) to present it digitally as well as in paper form which is much more in keeping with a modern way of working than large display boards.

I continued to concentrate on the trend aesthetics of lightness and brightness and ensured that all the pages fitted within this. I photographed the samples in groups and some individually to show how they would work together and individually. I also worked hard to make the pages varied and interesting.

This is a technique I will use again to present my work especially as I build my own practice in the future. I am also going to use it as part of exercise 6.5 to present my individual project as I have some really effective photographs of the samples that I feel will work best presented in this way.

 

 

 

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