Pippa Andrews uses different techniques as she did several graft courses. She allows her work to inform her of what technique to use. Above she uses a beading technique in a three dimensional forms. I am not sure if in these photos she used the London evening standard and joined them with nylon fishing line. She “bead weaves” for art rather than for jewellery making. Pippa realised that by changing the scale of a sample the sample could change from jewellery to a piece of art. I enjoy the 3D dimension this sample has achieved. I also enjoy the way Pippa has recycled everyday newspapers giving them another porpoise.

Above: making vessels and baskets with traditional weaving techniques. I am not overwhelmed by excitement when I see these but they do remind me of techniques that are useful when wanting to join straight edges an create a basket or circular shape. Here she has simply joined the straw with stitch.

Barbara Cotterell

Barbara Cotterell grew up in a world where necessity meant she learnt the skills and techniques to make her own clothes (that rings a bell). I can totally identify with Barbaras upbringing. I can identify with Barbara in the way that because of her upbringing of not having clothes bought for her she learnt to be imaginative and use the resources that were available to her. Not having conventional materials available to you makes you think outside the box and use what is around you, transforming the original purpose of the materials into something completely different.

I can also identify with the way she uses her chosen medium to raise awareness of our responsibility and impact upon the environment.

Barbara Cotterell reuses and recycles materials transforming them into a cloth-like quality often using a repetition of pattern technique.

I enjoy her use of paper bags joined together creating a structure. The paint inside the bags add another layer of interest.

I like how she uses tea bags, joining them by a couple of stitches with thread. Building a base by simply rolling a tube of newspaper in the middle of the structure.

Her mediums are found materials, mostly from items and waste we all have in our homes. Barbara manipulates her found materials, studying how they behave individually and how they perform as a group. Above she uses the top of cans of drinks and joins them with wire using a repetitive pattern. I enjoy Barbaras resourcefulness. The overall look of her work is not something I would necessarily hang in my living room but that is because to me it does not have that contemporary or even sophisticated look I aspire to have in my work.

Andy Goldsworthy

Andy Goldsworthy: Is a British sculptor, photographer and environmentalist who produces site-specific sculptures and land art situated in natural and urban settings. He lives and works in Scotland.

I find his work spiritually profound. I imagine him wondering around nature exploring and observing what it has to offer. He uses natural materials like stones, thorns, wood, leaves, flowers, branches, ice to create a piece of art.

He often studies structure and pattern. What I find impressive is that he uses only found materials and no tools, only the ones he makes himself like for example when making a string of flower petals he will use the thorn and vine as his needle and thread.

I am also very enlightened by his sensitivity and ability to respond to the materials around him. The way he makes his ice sculptures by collecting icicles or by cracking ice on a pond and using the heat of his hand s to melt the ice where he wants it to connect and then waits for the breeze and wind to freeze the areas where there is gaps – it’s just beautiful!

It reminded me a little bit of what I did for ATV in natures ladder (below) in a much smaller scale of course!

Researching Andy Goldsworthy reminded me of the importance on really observing and looking at the materials used and being sensitive to their characteristics. When using colour Andy would smash up a plant or rocks to get a pigment. I find that amazing and inspiring. I sometimes forget that I can break the rules and use anything around me. Each piece of work is informed by his physical location and the season of the year – this makes his work temporary and fragile, which means Andy has to take a picture to record it.

Judith Scott

In researching Judith Scott I found myself more interested in her life than her work. I am almost certain that without her story I would not be interested in her work.

Judith was a twin that was born with Down’s syndrome back in the forty’s so she was sent to an institution that looked like something from Charles Dickens.

Judith found comfort in the contact and touch of different materials. She began by acquiring objects, collecting and hiding, in response to living in an institution.

She began to wrap the objects, becoming self taught. Eventually her twin sister got her out of the institution as she missed her terribly and allocated her a studio where she could feel things and wrap them with all sorts of media: like plastics, paper, tubes, wool and thread. I think she was fascinated by acquiring items, hiding them, collecting them. After scanning some of her work they have found beads, wedding rings and doilies. Car keys and unattended cameras.

I can appreciate the length of time and dedication Judith spent on each piece. The different tensions in the threads and the in-depth study of forms are obvious. It is also evident that Judith studied and enjoyed texture. I also enjoy how Judith found her comfort in art and this resulted in a better life for Judith. I was encouraged by the way we can learn from people with disabilities and how inspiring they can be but it doesn’t change the fact that visually Judith works fail to move me. For some reason I can’t connect. It may be because I don’t find Judith’s work pretty, or maybe because I have to physically see it or it. It could just be the fact that I find the action of wrapping tedious. I don’t know but it doesn’t matter how long I look at Judith’s work the connection is not there.

Christo and Jeanne- Claude

What I enjoy of Christo and Jeanne -Claude’s works is that no one could own the project and there for no one could make money so it gave them both upsolute freedom. They both created ideas that were close to their hearts, a unique experience.

Their work was described as Nouveau, realism and environmental art. Christo and Jeanne-Claude’s work’s had no meaning only immediate aesthetic impact, I like this as so many times I am weighed down with the feeling that my work always has to have meaning. Sometimes all I want to do is create something beautiful, aesthetically pleasing to the eye. As simple as that!

Their works of art are were made for joy and beauty. They found new ways of changing familiar landscapes. Concealing bridges and wrapping them to reveal a new shape. I like the idea that there is none of their work left. only the planings, photography, preparatory drawings and collages are left.

After looking at their work I was left with the admiration of the ability to work in such large scale, this can only be achieved by in-depth planing and drawing. I am not sure I can even try and judge this work as I think it is one of those that you have to be there to appreciate it. When I looked at the images of the walk ways in the sea I was left with questions like: I hope the materials used were environmentally friendly so they wouldn’t affect marine life.

Karola Pezarro

Trained at the academy of art-architectural design and environmental design.

I enjoy the fact that each piece tells a story. She makes constructions with stacks of paper representing the fragility of life, the visible and invisible.

She does Sculptures, drawings, embroidery, video works and installations using wood, embroidery, metal and other media.

Above: Elderberries photo print, embroidery 150x60cm. I enjoy the delicacy of the work above. The image on the left looks like little pieces of silk cut in round shapes and embroidered all around. The branches seem like they are wrapped with red thread.

Above: Au bord de L’eau. Five scare meters big and it consist of embroidered silk bags with different content. The bags are hanging on the wall, roof tile, like seaweed on the rocks by the sea. On the bags she embroidered texts about memories, time and place.

I like something I read on textilesArtist.org that Karola Pezarro said “searching for something is always finding something else”

Alice Anderson

For some reason the artists that I was asked to research by my brief wasn’t inspiring me or motivating me. I wondered wether it was just me maybe not connecting or engaging with my course material, so I looked for artist that did wrapping that I might enjoy more. In my search I came across Alice Anderson and straight away I felt inspired. I liked the overlook of the objects she was wrapping (I realised I like order and context) I loved that she used copper as it is a material i also enjoy. I think she used copper inspired by her copper hair.

Alice is a French British artist who studied fine arts. I enjoyed reading about her exhibition where she meditates upon the loss of the tangible, weaving items in copper threads to create ‘recorded objects”. She archives the shapes of the objects but also studies the science of repetition. I think I enjoy her fascination in recording 3D objects recording the present.

Her museum is a place where she classifies objects that mean something to someone or society. When watching her video on YouTube she says how she is into repetition. Repetition of movement she then states ‘repetition is never the same’ (so true).

I liked seeing her accumulation of things -flower pots assembled together and wrapped in copper wire, it created a pattern of shape, simplified by geometrical shapes. She describes objects as ‘witnesses of our time(I enjoy that description).

I was inspired by how the objects get distorted by the pressure of the copper wire. I also like how she interacts with the public; allowing them to choose the object she is going to wrap next so that then it becomes a collective sculpture. The youtube video ends with Alice stating ‘my performances and sculptures are simply strategies for remembering’

References: youtube, textilesartist.org, talesofafairybloggspot.com