The brief: To select a drawing or two-dimensional piece of textiles from my body of work and do some critical reflection on the compositional elements of my work. Once I have reviewed my work I have to think about how I can improve the composition elements and then move on to the synthesis/refinement part of the cycle.
I chose this piece from exercise 3.5 to analyse. Looking at the piece the first thing that my eye sees is the contrast of materials. Metal copper wire with it’s earthy rich hue contrasting the soft delicate frayed organza. The next thing that will engage the viewer is the knitted copper wire and the netting it creates. The pattern in the weave is repetitive creating vertical an horizontal lines. You are then drawn into the parallelogram shapes created by manipulating the net with a smocking technique – this adds another dimension to this sample, in contrast these lines are diagonal. You are then drawn to the many organza ties that are connecting every diamond shape. The eye of the viewer then wonders to the scattered pearls and beads, randomly positioned as if caught in the net. Eventually you notice the crocheted edging of the piece which is in keeping with the hue of the organza with added speckles of silver accent’s, giving the piece a frame/border. The work is balanced. The organza ties cover the whole surface of the sample possibly overpowering the piece and hiding some of the strong geometric lines beneath. The pearl beads have no order and could probably benefit from some thoughtful formation. Perhaps if I played around with the composition of the organza ties? Maybe creating different patterns and formations. I am thinking of maybe combining the simple knitted weave of the copper wire and giving this the space it deserves. Maybe using the golden ratio rule to draw the viewers eye to the smocking area and the organza ties; this way hopefully achieving a more balanced and visually more interesting piece.
After sketching a few ideas I decided on what composition worked best. I noted on my sketch book my decision process.
I decided to take away the grey sparkly crotchet edging as I thought it framed the piece and stoped the viewers eye from wondering outside the piece. I used the golden ratio rule with this new piece, the eye is immediately drawn to the smocking detail and the organza ties (bottom left). It then wonders to the middle of the piece which showcases the simple rhythm of the weave; the knitted copper wire is now adorned with a few pearls carefully placed in a zig zag formation. I then added a strip of organza weaved into the knitted net, followed by a smaller section of smocking. I finished this piece with a vertical line of organza edging, just to lead the eye to where the sample ends. I decided to use blue organza rather than grey as It fitted better with my theme. The copper is inspired by the dusty earth burnt by the sun in a dry Country like Spain. The blue organza is inspired by the water and constant blue sky’s.
I think on reflection this piece is more balanced and shows the different manipulation techniques better. I have given the work more space to breathe and this has allowed the light to reflect on the copper adding more interest and beauty. I have really enjoyed analysing my work and making notes in response to my findings. I think it is clear to see that the results are rewarding as visually this piece is more pleasing to the eye.
I then gathered some of my photos of exercise 4.1 placing work, my collar and my new reconfigured piece; this inspired me to develop further visual investigation. I sketched a drawing of my piece made into a corset. By making two pieces the same and a piece for the back I could construct a corset, a wearable piece of art.
Below- an illustration of my wearable art. And so the cycle starts again! New ideas, practical response/action, more critical reflection, and more synthesis/refinement…
Alas! I finally get it!