What lessons and influences have I gained from the study of other practitioners and how have a I implemented these into my own work? What impact has doing this course had on my working practices?

Introduction

In this essay, I will be talking about what I have learnt by researching other artist and how I have implemented my learnings in my practice. I will be talking about how looking and critiquing other practitioners work, studying what they do as well as taking time to evaluate their work in depth, has had an impact on my work and me as a person. I will be showing examples of how I have included these findings in my own work. I will also be demonstrating in more depth how artist like Tracey Emin, the beautiful math of Coral project, Vicki Murdoch and Darren Aronofsky have deeply influenced my work – they have helped me strengthen my theme – how my theme has been developed during the course or even how I have come to understand who I am as an artist. I will conclude by talking about how this course has invaded the way I think together with how it has opened my eyes to understanding art; in particular, conceptual art. I will also talk about where I go from here in my future practices.

What lessons and influences have I gained from the study of other practitioners and how I have implemented these into my work.

Studying and researching other Practitioners has been invaluable for my development in this course. It has opened my eyes and senses. It has given me new ideas and helped me to push the boundaries.

By researching Tracey Emin I came to truly understand how to take inspiration in one’s personal experience. Looking at Emin’s work and also Louise Bourgeois was what made me choose a personal experience as a theme: ‘Spanish holidays’.

Below: Tracey Emin and Louise Bourgeois helped me push the boundaries of my work by trying to depict my personal experience of fibromyalgia through line drawing with thread; drawing half of my face, expressing how someone with fibromyalgia might feel; slowly disappearing in the isolation caused by pain. This work pushed me to come out of my comfort zone and pushed me to speak out about a difficult, personal subject for me. I also learnt about the power of words and how they can influence the viewer as much or even more than the image. I titled this sample fibro & me. The result was a breakthrough; making my work less ‘cute/pretty’ and elevating my work to a more edgy and contemporary feel.

Researching Polly Binns was a major influence in helping me understand how to record memory and observation of places; to translate the environment around me. It encouraged me to experiment with some of her techniques like smocking as well as push the ideas further in my theme.

Below are some examples of this. The first image is a piece from Polly Binn. I took the smocking technique and experimented with it in several samples. I recorded the environment in my theme ‘personal experience’. The blue organza representing the blue water and the ripples created in the lakes and sea. I used beads and pearls, similar to her sample, to create bubbles and treasures in the sea. The copper wire was inspired in the dry and dusty earth burnt by the intensity of the sun. After much critical thinking this has evolved to a potential corset.

Hew Locke gave me the confidence to make art that may be controversial. He also made me understand the importance of making my work engaging by believing in and researching the message I want to give through my textiles. I was inspired by his use of recycled materials. This resulted in me experimenting with copper wire and washing up scourers, a new and unconventional media for me.

Michael Brennan-Wood- in researching his work and looking at it closer I learnt the importance of allowing my work to feed me. Sometimes giving myself time to think about what I am doing and reflecting on it.

Below a self portrait of me as a consumer slave showcases how I have used digital printing and photoshop in my sketches thus helping me archive a more contemporary and vivacious look. Colour is still a major factor in my work. It was also a major influence when looking at the works of Michael Craig – Martin By researching his works I came to understand his use of unexpected colour and in turn I learnt about my use of it too. I tried adopting Michael Craig – Martin’s ability to intensify colour to a higher level.

The beautiful math of coral – Margaret Wertheim inspired me to link my theme to consumerism and wasteful materials. This project helped me understand the power of a craft to convey a message thus encouraging me to look at unconventional materials like washing up scourers. It helped me question and study the way we use them and the way they are made in detail. The result of this was a project of my own with a strong concept and a beautiful piece of wearable art.

Researching Vicky Mudoch’s company gave me confidence in being myself in my art. I came to accept that I don’t have to be too deep or profound like artist Louise Bourgeois. It is ok to be light hearted and add a bit of humour to my work. My art is a form of escapism from reality. I have a need and ability to make things pretty but this is no longer an unconscious action. Through critical evaluation of my work together with practitioners like Vicki I have come to embrace who I am as an artist.

Below- A collage (exercise 2.2) By doing this exercise I learnt about my own identity. I was reminded about my love for pattern surface, fantasy and wearable art.

I learnt that primary research can come from different media. In looking at Darron Aranofsky’s film ‘Mother’ I was enlightened on how to manipulate context. I was very impressed on how he was able to change the context of Mother Earth and use the bible as his main source of story line in a different context all together. This opened my eyes to the idea of context manipulation. Through this research I was able to think of different ways in presenting my submissive collar.

Below- examples of how location and scale change the context of my collar.

Core 3 what impact has doing this course had on my working practices?

This course has had a huge impact on my work practices because it has given me the confidence and understanding of who I am as an artist. It has helped me understand where I generate my ideas from and how to develop and refine these. In learning and developing my critical thinking it has awakened my need to look at and question other practitioners work in order to feed mine. It has taught me how to think in a conceptual way which is what I was lacking in the past as I was too literal.

Because of this new-found confidence in my art I have been able to put myself forward in a few projects in my community. One of these projects was a banner in my local church which has also been used for primary school children around my county to encourage and inspire them in art. It has benefitted me greatly, especially learning about colour predictions and mood boards. I have been able to implement my learning at work (working for a fashion department store) as it helped me understand trends and how to place them in a shop. It has also given me the confidence to sell one of my prints; which is now being sent to New Zealand.

Furthermore, it has helped me develop my written English as a student who’s first language is Spanish. It has made me more analytical and in turn, has enhanced my skills in recording and evaluating my personal progress.

Conclusion

I began ideas and processes very apprehensively, thinking I didn’t have the academic ability. By looking at other practitioners and being more analytical it has opened my mind and it feels as though I am carving and making way for more opportunities in the future. Through this course I have reawakened my love for 3d structures, metal or, in this case copper wire combined with cloth and wearable art. I feel that textiles are very exiting at the moment and am encouraged to carry own in my textiles learning journey. I have discovered my lagoon within the arts and this may be textiles for fashion or wearable art. I feel more confident in pursuing them.

Sources

Darren Aranofsky film Mother interview/Time. Louise Bourgeois/Tateshots. Louise Bourgeois/how to see the artist with MoMa chief curator Emerita Deborah Wye. Louise Bourgeois-peels a Tangerine. http://www.tate.org.uk.art.artist.Louise bourgeois. 4art lessons from Louise Bourgeois-Artsy. Polly Binns, youtube light and line_an exhibition of works by Anne Morrel and Polly Binns, 16-jun-2014. Recording the crafts- Polly Binns.www.une.ac.uk.sca.binns. Tatesshots: Michael Brennan- Wood Brennand-Wood.com. Michaelgroupmartin.co.uk. Michael Craig-Martin: Transience. YouTube. Michael Craig- Martin’s “drawings”: installation time lapse. Tate. Artist Talk: Rules and repetition: Michael Craig . Steal like an Artist by Austin Kleenex. Tracey Emin http://www.tate.org.uk.art.artist.Tracey. http://www.artnet.com.artist.tracey-emin. Tracey Emin The independentArt from the heartEdmund de Waal tx4 -craft_edmund_de_waal. Meet the artist Hew Locke (7-jan-2010). BP Artist Talk: Hew Locke (25 March 2009). Artist on the Underground- Hew Locke (17-jan-2017) interview: Artist Hew Locke- Ruined. Vicky Murdoch interview with Vicky Murdoch, creator of silken Favours- the luxPad – Amara. The beautiful math of coral Margaret Wetheim Ted TalksThe beautiful math of Coral