Unit X - post 1

Were was original advised to by looking at the national trust collection (http://www.nationaltrustcollections.org.uk/) in order to find a image to base my project on. It was recommended to choose a painting in order to draw inspiration from the colour. I decided that the painting where to dull so looked at other items for inspiration. After searching trough the website I found numerous images that sparked my interest creating various mood boards in order to see the potential of the images. The two images that I chose to work with was an old fishing net and a old fashioned poster of fish. From this starting point I then looked at my dads fishing collection and began making colour raps to create a warp. I picked a colour pallet that I found most interesting then developed it to create a warp that fit with our Wallace and Sewell brief. I then took out a book from the library called "Fish Face" and analysed the colours and patterns of tropical fish in order to find my weft yarns and suitable pattern. Wallace and Sewell set a clear brief that only 8 weft yarns could be used through out our sample, 2 lights, 2 darks, 2 bright's and 2 others. I decided early on that one of my other yarns would be braided fishing line in order to keep a strong link. With the limited colour pallet this project has pushed me and inspired me to really think about layout and form of my samples.

(mood board created from National trust inspiration)  (Sketch book work choosing a colour pallet)

(photoshop work exploring warp options)

 

(scan of my warp wrapping) 

 

Wallace and Sewell are a weave based company who work both with interior and fashion. This has inspired me to explore all my options as it is a similar path to what I would like to follow. I am primarily interested in interiors and soft furnishing however the ideas of producing a scarf is something I would like to explore more. There work is very strip orientated and is primarily block threaded. I decide to follow a similar route with my weaves as iv never worked with strips and thought it would potentially push my work forward. Wallace and Sewell's work really stands out for me as they have an excellent understanding of colour, scale and pattern, I feel this is depicted in the images below.

 

(Some of Wallace and sewell's pieces)

Ismini Samanidou, another weaver, visited and delivered us a presentation on her work. Ismini works in a polar opposite way to Wallace and sewell as she works by commission and creates bespoke instillations. I found her sense of freedom and over powering drive to explore very inspirational. Although I struggle to work in this manner she has shown the importance to thoroughly explore all optional and that opening one door could potentially open many. From her presentation I really liked a piece of her work she did for a national trust site. This was a wall hanging at Godolphin House, a site specific piece that not only focused on the grounds of the house, fit perfectly with its surroundings in the cellar space she was allocated.

(images from Ismini Saamanidou's Godolphin House wall hangings)

My feedback tutorial went well as I have a clear focus on where I would like my weaves to go. Lesley advised on more sketchbook development in order to really push my weaves forward and develop to a high standard. I Feel like iv begun to find my feet in this project and really understand the development process more.

Mark Laita is a photographer who did a project on fish. I found his work very helpful as his pictures are so crisp and clear and the bright colours pop against the black background.
http://www.marklaita.net/projects/water.html