Category Archives: Coursework

Part 5 Stage 3 Developing design ideas

I have sketched and pondered how to move forward with the samples I have produced. I have ideas of producing mourning jewellery from the distemper filled negatives, a mourning cape from the rust dyed fabric adding trims made from cine film. But they all seem hollow ideas. I came across a piece of paper on my work desk.. It was underneath a pile of my samples and i neither remember where I got the quote  upon it nor the author. But it came to me and settled something in my heart. I wanted to not make something abstract that had no obvious symbol of what had been haunting me since I started Exploring ideas and sought out my tribe. My family history. Whilst I want to explore a way of expressing myself that isn’t obvious, anecdotal. I wanted to show the discoveries and celebrate the life of my Great Grand Mother The quote reads:

‘Collections of work which evoke moments in our lives. Here are people and glimpses of stories making themes of our very existence. reminiscent works which reference mythology and storytelling, using the line of thread to connect relationships and define emotions such as suffering, hope and renewal.

These are punctuations which reveal the sense of self and identity, the making of connections between the touching and tactile quality of textile, and the expression of feelings’.

I copied the text and searched on-line for where I may have got it from. Fortunately I was successful in finding it as a quote on Alice kettles website.

I had been looking through my workbooks for all of Exploring ideas and there were certain approaches that when I looked they almost punched me in the stomach. The darning over faces was one set of samples that in my eye had a power to them. They resonated with me as I have had times in my life that I have wished I could erase myself from. The act of removing a face, and as I wrote, ‘Can we obliterate the past?’ We can remove our images from photographs, but we cannot remove those experiences from our history.

I undertook therapy a few years ago, where I explored my own history and I worked on events, relationships and how they had shaped my own view of myself. It was painful, hard work and most of the time I would have run away from doing it. What I had hoped for and what I got from it was the truth of who I am I was able to see a truth that had been obscured by other people’s word and actions to me that I had believed. They were wrong and I was able to be guided to the truth with the care of my therapist. She once told me ” We cannot rewrite our past, but we can learn to live with it in a different way.’

As I was working with my therapist, I started to work on a patchwork. It had items from my past within it. Quotes, thoughts, a glove from my first wedding and more. I was building a ‘wrapping cloth’. A cloth that I would have wished to present and gift  to myself when I was born. It would have words of encouragement and in painful lonely times I would have used it to wrap around myself to feel the warmth of the love that went into its production. As I read the quote from Alice kettle, I knew that I would like to make a similar quilt that would hold the many approaches i have worked on as I have progressed though Exploring Ideas. I feel It will allow me to produce something that has a story to tell. That a viewer would need, if they wished to take time to see all it contains. The hidden stories and textures that I have gathered.

The course notes ‘Design is as much about what you leave out as what you include and the ability to be succinct needs practice’. I feel that in the next stage of gathering together those approaches that are important to me, I will be able to  asses as I move forward. In my reintroduction to being materials led, I shall allow myself to judge each section of the quilt, as I go along.

These thoughts and realisations move me into Stage 4, Making a story board. In deed that is exactly where I am now. A board that tells not only the story of what samples and approaches I can take forward, but also of which aspects of my tribes story I reveal.


Kettle, A. (2016). Alice Kettle | Textile Artist Gallery. [online] Available at: [Accessed 2 May 2016].



Part 5 Personal project Stage 1 Reviewing my work so far.

I sat and leafed through the workbooks and sketchbooks I had produced so far in Exploring ideas. I took photographs of work that ‘hit me’ in some way. I was looking for the twitch in my gut that didn’t necessarily tell me clearly why or what but something that was more instinctive.




















Two things struck me: firstly how I again returned to my ancestry project which was in Part one looking at cultures. I have unfinished business with this but I am not sure what? I am drawn to the hidden text, stitching to selectively show aspects of the text, darning to obliterate images or part of images.

Secondly, how in my sketchbooks I have used vivid colours and played with textures and ideas using collage,  ripping and using a variety of mediums, pastels, acrylics and machine and hand stitch.

Both are completely different as though two people have done the work. This puzzled me. It also showed me how when I began Exploring ideas I had got into the groove of working materials led, playing with ideas and also I had got a strong working process of beginning with research and then producing samples. I can remember being inspired and excited by both processes.

I knew I had lost these newly learnt skills through my working on the printing course, which is extremely well documented. I know from my tutors report for part 3 that I need to loosen up and get back into these grooves if my work was to develop to the standard I want and the course demands. I am fearful and anxious that I may not be able to, but that I know is my ego talking and in truth I want to progress and develop too much to be halted long by these fears. I decided to photograph part 4 and look for glimmers of these processes. (Drama Queen moment).









I took most images of the decaying fabric, distempered fabric and manipulated negatives and cine film. I have a voice in the back of my mind when producing any samples and it is of my tutor saying” Push them as far as you can, don’t stop short of what they can be”.  In this work I did stop too early and missed opportunities. In my mind I wanted to revisit these and take them further in my Part 5. I saw them as the seeds of inspiration that I could move with. A mistake in retrospect. I was not honouring my self as an artist who needs and strives to push herself and to see just what I can produce. I don’t want to just study a degree, I want to become the artist I dreamed of being when I was 14. I know through art I can express the soul that came on this earth to have a voice. I don’t wish the statement to be dramatic or pretentious. It is the truth that hides inside me. Given that truth, I now have looked at my work with a different narrative in my mind. What do the materials I choose to work with have to say? What voice do we together sound like?

I asked my tutor how I can move away from being representational and restrained. She advised me to just play and take the samples and exercises to the farthest point I could. Until I could do no more with them. I see clearly how I was doing this in part 1 and 2 but lost it in Part 3. I have printed out the photographs I took and have my mood board on the wall and also have workbooks and sketchbooks out covering one bedroom for me to sit amongst and to ponder over.


Part 4 Sketchbook work

I decided due to comments my tutor made about not taking samples further in part 3, to try and free myself up a little and work on some random sampling to try and shift my head into exploring textiles and working from a materials lead angle. I feel I failed miserably in my first re engagement to exploring Ideas. I was incredibly frustrated in my inability to just relax and surrender to the process. I knew I needed to work on something that I could be more playful and random. even though my materials are from the ancestors research from Part 1, I wasn’t looking to produce anything just to rip, stitch, burn and  be open to just going with what was to hand. I had the radio on loud and prepared to lose myself. It took time before I became instinctive and the radio helped to distract part of my brain that may have wanted to interfere with the process. I had large graphite pencils, acrylic paints, lots of photo copies, sewing machine, soldering iron and matches to hand. I cleared the decks and played.


One of my loosening up exercises was to take chunky, graphite pencils and scrawled text from a collage I had made (below). I then over painted with acrylic paint. The graphite was still visible as it repelled the paint.

collage on paper

collage on paper

Below I again collaged though this time I worked in a more conscious way. I ripped at the census forms, photographs of my ancestors and their marriage certificate, envisioning how they would feel about their lives being changed so drastically. I found I got quite emotional doing this. Even to the point of brimming with tears. I covered the whole page (A2) in pva, which gave the finished work a lossy appearance. I drew it, using large marker pens, simplifying the colour blocks. I then cut that into pieces and pasted them allowing my instincts to choose where things should lay.



I cut the original collage into strips and pasted them, again using my intuition to dictate the composition.




I threw nothing away as even the smallest piece had some shape, colour combination or texture that I could refer to. The photographs do not tell the whole story.


I enlarged areas via Photoshop and printed them out, again ripping and layering and adding lines picking out text and also just picking out shapes of letters to soften the composition.




I then stitched into some photocopies, ripping and layering. I then took a flame to it all. I do like the text appearing beneath. I chose the green colour as it is the same as the original paintwork on the workhouse doors and windows.






I found that in doing this I became more in touch with how I should be working with exploring ideas. My mind was becoming more open and curious. I hope I am learning to trust the process more. One question I do have is: if I allow the process to take over, do I lose the lateral thinking that would guide me towards a fine art approach rather than a crafter?

Part 4 project 1 Stage 3 An Analytical Study

Zandra Rhodes 

Full-length evening dress, New York and ‘Indian Feathers’ design, Autumn/Winter 1970. (2016). Zandra Rhodes Digital Study Collection: DRESSES. [online] Available at: [Accessed 30 Mar. 2016].

Good Reads. (2016). The Female Eunuch Quotes. [online] Available at: [Accessed 30 Mar. 2016].

WEINRAUB, J. (1971). Germaine Greer — Opinions That May Shock the Faithful. The New York Journal. [online] Available at: [Accessed 30 Mar. 2016].

Alonso, R. and Eisner, L. (2002). STYLE; Rhodes Scholars. The New York Times. [online] Available at: [Accessed 30 Mar. 2016]. (2015). Biography. [online] Available at: [Accessed 30 Mar. 2016].

Buckley, J. (2015). Moss is such a copycat, says Dame Zandra: Designer accuses model of ripping off feather design for Topshop collection Read more: Follow us: @MailOnline on Twitter | DailyMail on Facebook. The Daily Mail. [online] Available at: [Accessed 31 Mar. 2016].

Part 4 Project 2 Stage 2, Analyse 3 Pieces of Work

Work number 1

Spreckley, Project Façade

by Paddy Hartley

Contemporary Textiles, the fabric of fine art. (2008). London: Black Dog publishing, pp.160-70.

Hartley, P. (2007). Spreckley, Project Facade. [image] Available at: [Accessed 2 Apr. 2016].

Paddy Hartley. (2016). Project Facade. [online] Available at: [Accessed 2 Apr. 2016].

Work number 2

The Agony in the Car park

Grayson Perry

Perry, G. (2013). The Agony in the car Park. [image] Available at: [Accessed 3 Apr. 2016]. (2016). Grayson Perry Virtual Tour – Welcome. [online] Available at: [Accessed 3 Apr. 2016]. (2016). GROSSE – About us. [online] Available at: [Accessed 3 Apr. 2016].

The National Gallery, London, (n.d.). The Agony in the Garden by Giovanni Bellini 1465. [image] Available at: [Accessed 3 Apr. 2016].


Work number 3


Lucy McRae

TED, (2012). Becoming Transnatural. [image] Available at: [Accessed 3 Apr. 2016]. (2011). Lucy McRae » Projects. [online] Available at: [Accessed 3 Apr. 2016].

radiotherapy-moulds. (2014). U.K: Cancer Research UK.

Part 4 Project 2, Stage 1 Six Artists and Designers.

The 6 artists I chose for this exercise were:

Janet Cooper

race, N. (2003). [online] Available at: [Accessed 24 Mar. 2016].

Devall, E. (2015). [image] Available at: [Accessed 22 Mar. 2016].

Cooper, j. (2007). party dress Rome. [image] Available at: [Accessed 24 Mar. 2016].

Cooper, j. (2013). various sculptures, Stitched on second hand clothes. [image] Available at: [Accessed 24 Mar. 2016].

An eclectic Art, (2006). [image] Available at: [Accessed 24 Mar. 2016].

Cooper, j. (2014). Cloth warriors. [image] Available at: [Accessed 24 Mar. 2016].

Cooper, j. (2011). painted and Stitched Objects. [image] Available at: [Accessed 24 Mar. 2016].

Narte, F. (2010). ARTISTICALLY SPEAKING–JANET COOPER DESIGNS. [Blog] Fannie Narte. Available at: [Accessed 24 Mar. 2016].

Contemporary textiles, The fabric of fine art. (2008). London: Black Dog publishing Ltd., pp.134,135.

Gunta Stolzl (2016). Biography – Gunta Stölzl. [online] Available at: [Accessed 24 Mar. 2016].

Gunta Stolzl. (n.d.). 1st ed. [ebook] On-line: Bauhouse Online, pp.1, 2. Available at: [Accessed 24 Mar. 2016].

V & A Search and collections. (2016). 1st ed. [ebook] London: V & A, p.1. Available at: [Accessed 24 Mar. 2016].

Wall Hanging. (n.d.). [Textile work] V & A, Twentieth Century, room 74, case CA8, box 1. London.

Wortmann Weltge, s. (1993). Bauhaus texiles, Women artists and the weaving workshop. London: Thames and Hudson, pp.10, 12, 41, 44, 53, 55, 59, 60, 166, 182, 189, 191, 192, 46-49, 58, 64, 61, 90, 93, 95-96, 117, 120-22, 58, 63, 96, 104-5, 100, 101-101, 106, 7, 41, 46, 97, 111, 116, 187, 18, 20, 21, 23, 25, 37, 69, 70, 71, 74, 83, 86, 158.

Wortmann Weltge, s. (1993). Bauhaus texiles, Women artists and the weaving workshop. London: Thames and Hudson, p19

Non noted. (2000). [photograph] The Met Breuer 945 Madison Avenue New York, NY 10021, Archives. New York. (2013). History of textile art: Gunta Stölzl (1897-1983) – [online] Available at: [Accessed 24 Mar. 2016].

Cornelia Parker

Video footage of Cornelia Parker.

Bloomburg Business, (2015). Brilliant ideas – Sculptor and Artist. [image] Available at: [Accessed 24 Mar. 2016].

Pinterest. (2016). Cornelia Parker. [online] Available at: [Accessed 3 Apr. 2016].

Adams, T. (2015). Cornelia Parker: ‘I don’t want to tick anyone else’s boxes’. The Guardian. [online] Available at: [Accessed 24 Mar. 2016].

Blazwick, I., Ono, Y., Ferguson, B. and Parker, C. (n.d.). Cornelia Parker.

Bloomburg Business, (2015). Brilliant ideas – Sculptor and Artist. [image] Available at: [Accessed 24 Mar. 2016].

VERDIER, A. (2010). Cornelia Parker, ‘Cold Dark Matter: An Exploded View’ 1991. [online] Tate. Available at: [Accessed 24 Mar. 2016].

Waters, L. (2011). INTERVIEW WITH CORNELIA PARKER. The White Review. [online] Available at: [Accessed 24 Mar. 2016].

Howie, S. (2016). Cornelia Parker artist | Alan Cristea Gallery, London – Cornelia Parker. [online] Available at: [Accessed 24 Mar. 2016].

Alan Cristea Gallery, (2015). Artist Cornelia Parker talks to Jonathan Watkins. [image] Available at: [Accessed 24 Mar. 2016].

INGLEBY GALLERY, (2016). Hot Poker. [image] Available at: [Accessed 24 Mar. 2016].

Grayson Perry

Grayson Perry – Education pack FINAL (1)

Channel 4, (2016). Grayson Perry – Who are you?. [image] Available at: [Accessed 24 Mar. 2016]. (2016). Grayson Perry | Artist | Royal Academy of Arts. [online] Available at: [Accessed 24 Mar. 2016].

Liverpool Echo Newspaper, (2014). Grayson Perry promoting his exhibition of tapestries at the Walker Art Gallery, Liverpool. [image] Available at: [Accessed 24 Mar. 2016].

Walker Art gallery, Liverpool., (2012). Grayson Perry, ‘The Adoration of the Cage Fighters’, 2012 (detail). [image] Available at: [Accessed 24 Mar. 2016].

Art Fund, (2016). Grayson Perry: The Vanity of Small Differences. [image] Available at: [Accessed 24 Mar. 2016].

Perry, G. (2013). The vanity of Small Diffferences. london: Hayward Publishing, p.73.

Grayson Perry educational pack. (2012). 1st ed. [ebook] London: The arts Council, pp.5-7. Available at: [Accessed 24 Mar. 2016].

Amy de Klerk, A. (2016). Who’s who – Grayson Perry. vogue. [online] Available at: [Accessed 24 Mar. 2016].

Grayson Perry Who are you?, (2014). [TV programme] channel 4: Channel 4.

Hattenstone, S. (2016). Grayson Perry: ‘Just because you don’t have a dress on doesn’t stop you being a tranny’. The Guardian. [online] Available at: [Accessed 24 Mar. 2016].


Paddy Hartley

Hartley, P. (2008). Project Facade. [online] Paddy Hartley. Available at: [Accessed 24 Mar. 2016].

Saachi gallery, (2015). lambs heart tissue – print. [image] Available at: [Accessed 24 Mar. 2016].

Prain, L. (2014). Strange Material Story telling through textiles. Vancouver: Arsenal Pulp Press, pp.113-115.

Debatty, R. (2007). Interview with Paddy Hartley. [Blog] We make money not art. Available at: [Accessed 24 Mar. 2016].

Lucy McRae

In the research I found Suzanne Lee. Whilst she is my 7th Artist I felt her work inspired me enough tag her on to my list. I like the idea of growing fabric. Since my cultivating fabric in a tub with an iron grate taken from the Work house buildings in Sheffield, which developed a type of fungus on and within the water, which in my mind created a living link to my ancestors, I wondered if there was some way of developing the culture that thrived in the bowl and using it in some way? (2016). Lucy McRae » BIOGRAPHY. [online] Available at: [Accessed 25 Mar. 2016].

Sellars, S. (2011). Body Architecture: An Interview with Lucy McRae | Simon Sellars. [online] Available at: [Accessed 25 Mar. 2016].

McRae, L. (2016). Lucy McRae » THE FAMILY OF PRICKLY LAMP’S. [online] Available at: [Accessed 25 Mar. 2016].

JB, L. (2016). LUCY MCRAE + BART HESS: LUCYANDBART. [Blog] optimist prime. Available at: [Accessed 25 Mar. 2016].

Exploded view part 2. (2008). [Blog] LUCYANDBART. Available at:! [Accessed 25 Mar. 2016].

Quinn, B. (2013). Textile visionaries -Innovation and Sustainability in Textile design. London: Laurence King, pp.11, 60-7.

Lee, S. (2012). Biocouture Designer Suzanne Lee on growing your own clothes. [image] Available at: [Accessed 25 Mar. 2016].

Quinn, B. (2013). Textile visionaries – Innovation and Sustainability in Textile Design. London: Laurence King, pp.60-67.


Part 4 Project 1 Stage 2 An In-depth Study

Zandra Rhodes

Jacques, A. (2013). Zandra Rhodes: The fashion icon talks embarrassing mums, Freddie Mercury, being punk and going pink. Independant. [online] Available at: [Accessed 31 Mar. 2016].

Alonso, R. and Eisner, L. (2002). STYLE; Rhodes Scholars. The New York Times. [online] Available at: [Accessed 30 Mar. 2016]. (2016). Turning the Pages™ – Zandra Rhodes. [online] Available at: [Accessed 31 Mar. 2016].

The Knitted Circle collection, design Z6. (2013). [image] Available at: [Accessed 31 Mar. 2016].

Zandra Rhodes Unseen. (2013). 1st ed. [ebook] London: Fashion and Textile Museum. Available at: [Accessed 31 Mar. 2016].