Category Archives: Tutors reports

Part 3 Tutors report and my responses




I agree, I got ignited by looking at the result on the fabric of all those months stagnating in a bowl of rust and fungus. I do have it earmarked for experimenting with  to see what I can develop in Part 5.


I agree completely with my tutors comments about being constrained with expected outcomes. I really struggled with just playing with some aspects of this work. I had lost my confidence in rolling with the process. I found I was having problems relaxing into just playing with the materials. I knew why this was happening at the time and I was looking subconsciously for something familiar I could hook my mind onto. I returned to using the materials I wanted to develop from part 1, hoping that I would pick up some momentum. The residue from working on the Printing course has been that I have become constrained and focussed on the end result. I have been working hard to get out of this but I am still struggling from adopting those habits. I am hoping that I can relax into my personal project for Part 5.


Without my tutors comments I would not have seen the distemper and fabric in this light. I was then reminded of Cornelia Parker’s Exhaled Cocaine (Lima). Parker acquired some cocaine from Cardiff Customs and Excise, which they had burnt to cinders. I saw this at the exhibition in Manchester in 2015 and it is one of several ‘Exhaled’ works by Parker. Iwona Blaswick the curator of the Manchester exhibition suggests ‘that in her re-purposing of found materials in ways that reflect on an object’s former purpose and meaning, Parker’s work offers a new definition of abstraction, one that involves ‘the use of something that already exists in the world (not its representation) and the substitution of its original nature or function with another, contrasting and even absurd mode of being’ (Blazwick 2013, p.108).’ I was intrigued by this alchemy mode of thinking at the exhibition.

I also am drawn to use ‘site specific’ materials as my tutor says. I have a collection of roofing slates, grate covers and distemper from the workhouse site that I am hoping to further develop samples. I had hoped there would be brick-dust also as the buildings were scheduled for demolition last year, but are still standing.

I have begun experimenting as suggested by printing many pages of text onto paper and fabric and playing with them with no outcome in mind. I think it will help me become free in my experimenting.

Stage four  ‘Unable to construct ideas that take shape and move these forward.’ That is exactly what happened. I simply halted and could not see where I could go or even how to move forward. here it wasn’t because I didn’t want to work on it, I was simply lost. I can’t explain it any other way. My tutor reminds me what I was required to do, but whilst I was aware of this and was incredibly frustrated at my inability to do this, I can recall being sat and my mind being completely blank.


My tutor can read me extremely well, and her insight into me working with metaphors is enlightening. I don’t think I had realised this. Ii am now aware of how I could have progressed those early samples. I am hoping I can hold this in my mind moving forward, especially with the comments below, where suggestions are offered as to what I could have – and should have – done. I also need to discuss the use of ‘metaphors’ with my tutor to see if she can help me shift away from falling back into this mind-set. I don’t want it to limit my progress and development.


I had hoped that picking up the pianola sheet would shift my thinking at the time and it did lead me to using plastic and then the cine film and negatives. I agree I stopped short of taking this work further and I had in mind that they would be samples I could develop and use in Part 5. I now realise I should have concluded their experimenting here and then picked the end results up later if I so desired. Fool that I am and now frustrated with myself even more.

Again my tutor picks up on my subconscious behaviour ‘you rely on representation, the image, the metaphor…’. I admire Cornelia Parker and how her work poses questions and invites the viewer to look as deeply as they wish. I need to bring to mind what I enjoy or am challenged by with other people’s art. How do I move forward?


From the comments about being restrained by my sketchbook I have been working on A2 sheets of paper this past few weeks. I do prefer larger format work but realise I am scaling down in order for my work to fit into the postal folder. How utterly idiotic. I find that I am constantly frustrated and angry at myself over how I have moved back into working on Exploring Ideas. I have been limiting myself for stupid reasons, and many subconscious thoughts have clipped my scope of working. I normally submit several sketchbooks with each part of the courses but I have again lost my way with this.


I am encouraged by this section of the report. I am getting into the stride of working through my thoughts and gaining insight into my way processes and ways of working. Even if it is quite painful at times to see my many shortcomings.


I have this book on order from the library.


I have a copy of Cas Holmes book The Found Object in Textile Art, in it she has a series of ‘loosening up’ exercises that I am working on.  I am doing some simple mark making and using a variety of mediums before I do any ‘proper’ work in order to engage my brain and also creativity. I am enjoying doing this as it is not pressurised, result oriented and it allows me freedom within what I have become to perceive a tightly regimented process of the course. I know that this is the legacy from working on the printing course.  Whilst I hated very much the Printing course,how I struggled with it every step of the way and how it has affected my personal working style and thinking, I can also see that in doing it and it being on initial thoughts an error in choosing it, it has thrown up and uncovered a new level of awareness about myself. I am reminded of a quote: ‘Mistakes are not tattoos to wear for ever but bruises that will fade’. I am still very bruised by the printing course. I don’t see that as an excuse, just an awareness.

I love the passage highlighted by my tutor above: ‘Collections of work which evoke moments in our lives. Here are people and glimpses of stories marking 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 the 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 have this printed out and I am going to use it as a starting point for my work in Part 5.





Part 2 Screen printing Tutor report

I was extremely nervous at what my report may say, so much so that I didn’t open it until I had stared at the email for ages psyching myself up for the reveal. I am immensely pleased with the feedback I received and how in-depth it was. I have lots to look up and read which I know will inform my next body of work for part 3 Reveal and conceal.
Tutor report
Overall Comments
Sue, You again have developed ideas and concepts from a thought provoking
body of well-researched subjects. It is clear you seek out topics that are
deep, meaningful and sensitive, as you need the work to have integrity and
significance. It is a risk, to take on subjects such as Female Genital Mutilation
(FGM). Evidently you, critically think through each process finding more linear
subjects although presenting aesthetically pleasing ideas, hollow, and you
want the work to have gravity, substance and depth. This body of research
provides many possibilities; you have worked effectively through a number of
ideas and concepts. Your practice evaluates materials, consciously validating
the use of alternative and controversial mediums. This is a brave body of
work that takes risks with subject matter, materials and processes. Well done!
I understand your aim is to go for the Textiles Degree and that you plan to submit
your work for assessment at the end of this course. From the work you have
shown in this assignment, providing you commit yourself to the course, I believe
you have the potential to succeed at assessment. In order to meet all the
assessment criteria, there are certain areas you will need to focus on, which I will
outline in my feedback.
Feedback on assignment
Demonstration of technical and Visual Skills, Quality of Outcome,
Demonstration of Creativity
Sue, you initially began to look at manmade landscapes finding the
constructed, architectural patterns easy to work with. However, this work
gave you an, ‘empty’ feeling; you needed to stretch the parameters.
Therefore, you began to consider the physical landscape (the body). This
submission falls into two sections: The manmade landscape and the physical
The Manmade Landscape.
Being drawn to Frank O. Gehry’s architectural practice inspired some
interesting work with manipulating personal photographs of famous landmark
buildings such as The Houses of Parliament and Big Ben. O. Gehry famous
for his buildings that represent undulating free-form sculpture. He treated
each commission as: “A sculptural object, a spatial container, a space with
light and air”, a very fascinating and cutting edge architect of his time. He also
produced cardboard furniture:
Using your photographs you created montages. These distort the actual
image slightly and throw lines that inform some creative design ideas. These
ideas you sketched focusing on the shapes and angles. I actually really
enjoyed these pages of exploration using mixed media that play with structural
forms. Taking O. Gehry’s window design you made some interesting motif
and repeat pattern work. You show a good understanding of colour, laying
down confidently, line, structure and sketchbook work. Here, you have
effectively grasped ideas and successfully communicated those ideas visually.
Although, you found this work didn’t feed your ‘soul’ and wasn’t ‘challenging’
you enough. I do think it illustrates your real ability in finding interesting
sources to inspire creative and innovative design. With a closer look at O.
Gehry you may have discovered other dimensions to his work such as
‘recycling’, spatial concepts and distorting the socially acceptable using low
budget corrugated metal panels, steel poles and wire mesh fencing.
However, putting constructed landscapes to one side you began to consider
the physical, body landscape:
The Physical Landscape.
This journey led you through considering the numerous ways in which we
manipulate and distort the body including: tattoos, body piercing, cosmetic
surgery and finally to Female Genital Mutilation (FGM). Each one of these
subjects again, offered a wealth of research to feed numerous bodies of
You have looked at various artists that have approached the emotive subject
of FGM or the female sexual organs such as: Jessica Stanton, Abebe
Zelelew, Ronald Jung, Olubunmi Temitope Oyesanya, The Shorditch Sisters
(Embroiderers Campaign Against Female Genital Mutilation), Anish Kapoor
and Cornelia Parker (Pornographic Drawing – The Whitworth Gallery,
One of the most insightful quotes I found in your research was; “Yoni is the
Sanskrit word for the primal sacred place. The Yoni is as temple in which the
divine essence of a woman, in other words her soul, can be worshipped”,
(Yoni – Hindu). This summarises the sanctity of the woman. Therefore, in
violating a woman’s most sacred part leaves us with the notion that this work
seeks to highlight the gravity and inconceivable loss of innocence these
women and children have suffered.
As I stated previously this is a raw and sensitive subject and it is brave to step
into the realms of using this as a vehicle to form ideas and concepts for
design and artworks. You have effectively worked through a number of ways
in which to form design ideas. Using sketching, watercolour washes, fine
liners to draw the vagina, clitoris and labia. This didn’t work for you so you
moved forward into photographic images illustrating fingers over mouths
(Shhh!) and hands protecting sexual parts. Removing the text gave the
images more gravity and softness but you pushed through to find a method
that projected more of what you wanted.
As Africa represented a continent where FGM was prevalent you began
looking at fabrics, prints and symbolism. Choosing symbols that represented
strength, femininity, bravery, fragility, etc. The attributes you associated with
women and children who had undergone FMG. Exploring these symbols as
design elements for borders or central panels. Again, these motifs could have
easily provided you with numerous prints however, you felt that these had not
expressed or evoked the depth of feeling you desired.
Contacting an African Fabric Shop they sent samples and emails explaining
production and processes. Consider looking at Yinka Shonibare MBE, Africa
Now: Political Patterns. Shonibare explores his West African heritage; his
practice is concerned with disrupting conventional notions of race, class and
cultural identity. The significance of black diaspora of art originating from
European, American Imperialism and slavery.
You are very articulate and self-aware, very well researched and demonstrate
a developed intellectual understanding. This is clearly evident in the manner
in which you question materials and methodology. For instance questioning
yourself and your practice in whether to use blood was appropriate or purely
for ‘shock’ tactics. Having been on the study visit to The Whitworth Gallery in
Manchester and viewing Cornelia Parker’s work it helped you formulate
reasoning and justification in using alternative mediums.
Although you lay to one side the African symbols, you had investigated the
meaning and strength behind these. I agree that these could have led to a
body of interesting design work. The importance of these cloths and
symbolism for women carried a great weight, often unable to express
themselves they used this a medium to convey strength, courage and
celebrated their femininity. Perhaps you hadn’t expanded these enough?

S.B Response – reading this set me thinking why I hadn’t stayed with the ideas I had and developed these further, what was my ‘gut instinct’ telling me? I realised that subconsciously I view parts 1-4 of the course as a preliminary to part 5, in so much that in the back of my mind that these are all possibilities for full development in part 5. I am aware that in part 3 I can explore deconstruction and decay of fabrics, which will produce valuable samples developing the subjects I have covered in parts 1 and 2.

Tutors notes continue…
Could these become raw, exaggerated, random, distorted? This may have
provided a way in which to express a broken spirit or struggle?
Buying dried blood from an on-line butcher you began to explore making a
screen using African nations (most profound for FGM) as the design or motif.
Experimenting with various fabrics you tested and investigated methods of
printing with this medium. The Christening Dress became the symbol of
‘ceremony’, and consideration of the child’s innocence. Although you have
not stated this clearly this links very well to the research you submitted
regarding the prolific numbers of FGM in the UK, Sheffield our home city
having the 5th highest levels of FGM. This almost Victorian Christening dress
takes on the role of British Colonial Power and the dissemination of countries
affected by historical plundering of the West. Now Britain has made a
homeland for cross-pollination of cultures.

S.B response– I see how whilst in my mind I was wanting the Christening Dress to tell of the juxtaposition of British involvement in Colonising it’s perceived developing countries and the arrogance and ignorance in this alongside against the Long held cultural and social reason for the practise of F.G.M. I listened to a play on radio 4 (A cut above) some weeks ago where a young British Muslim teenage girl, arranges in secret from her family her own F.G.M, as she is attracted to a boy at school and she believes he wouldn’t be interested in her if she hadn’t undergone F.G.M. I intellectually understood that a girl would feel pressure to be made ‘clean’, yet I hadn’t felt it in a way that the play allowed me to.  I do need to explore all angles in my work.

Tutor’s comments continue…

Therefore, it is difficult for us to understand or come to terms with the cultural
ceremony of FGM, now legislated as illegal in the United Kingdom. I found
some of your research article very interesting and could see from both sides
the gravity of this situation:
• It is a cultural practice.
• To keep a woman whole before marriage.
• To keep the girl ‘clean’.
• To be a respected member of the community.
• Religious reasons (Muslims).
Although this carries a strong message about the subordination of women and
girls in society this practice is carried out by Christians, Muslims and followers
of indigenous religions suggesting it is more cultural rather than religious. If a
girl believes no man will marry her resulting in no off spring we begin to
understand the social pressures of FGM. It is always relevant and important
to see both sides of the argument and understand ‘why’ this procedure still
exists in the 21st Century. This conjures up even more substantial material to
inspire provocative artworks, the pull of cultural identity versus abhorrent pain
of mutilation.

S.B response – I see I have not noted my thoughts on one of the reasons I chose to use the christening gown, I wanted to take the focus away from the assumption that F.G.M was a African and/or Muslim practice. I wanted to show that F.G.M was practised world wide and was not solely a religious practice. I did not want to present a prejudicial viewpoint. If I was to present this work in an exhibition I would need to think about what content my artist statement would have. I also need to look at the work I have produced to see how I can, if possible develop the piece to be clearer in my intentions.

Tutors notes continue...
I believe the christening gown does open an uncomfortable dialogue
especially as it lies marked with blood. The dried blood becomes brown in
nature that almost signifies the passage of time, being aged and dulled, the
rawness of red has been dissipated. I imagine hundreds of your little white
christening gowns hung within a gallery on simple washing lines. The impact
would be sobering and powerful. You have shown a highly effective grasp of
ideas and communication of those ideas visually.
The stitched city masses of Sheffield, Leeds, Nottingham, Birmingham and
Manchester again are poignant using darning techniques, surgical like running
stitch and ‘cut here’ text. This is effective work presented in a professional
way, showing strong judgement. You could consider developing these further
perhaps using splashes of blood, combining techniques. Could the stitch
work be raw almost like stitching up roughly an injury? Fabric could be frayed,
bulky, with bleeding through of other mediums. I think you could extend this.
You have competently created repeat patterns, boarders and motif designs in
accordance to the brief using land and city masses as the design element.
This didn’t have any gravity or weight for you. Again, consider the materials
used and application. Consider distortion, blending of nations or torn divides
to give more power and depth to repeat designs.

S.B response– I am looking to sample ways of decaying and de-constructing fabrics in this manner in part 3. One of the workshops suggested is called De-constructing and disintegration. I like the idea of blurring the boundaries of the nations and cities. This adds the visual narrative I am missing.

Tutors notes continue…
Demonstration of technical and Visual Skills, Demonstration of Creativity
Sue, you have worked in a considered and thoughtful manner pushing the
boundaries of ideas and concepts. These sketchbooks evidence
experimentation and exploration of mixed media, textile cloth and inspirational
materials. You are hungry to find methods of expressing evocative and highly
charged emotive issues. Here, you are creative, taking risks with imaginative
and successful outcomes, with a strong evidence of personal voice.

I do think you could at times push ideas further before laying them to one side.
Each element you select for research and inspiration holds weight and if
pushed could result in some amazing outcomes. You have a natural ability to
sketch beautifully using line and colour very effectively (Frank O. Gehry’s
architectural practice work). The christening gown evidences your ability to
develop concepts and take risks with successful outcomes. I agree at times
the work become flat as you process repeats and motif designs. Consider
pushing the boundaries of these. Perhaps these could hold as much gravity
as the gown via exploring further ways in which to manipulate or distress cloth
or experimenting with applying dye mediums in a more aggressive or
deliberate manner.

(S.B response – This could be samples worked in the part 3 workshop Deconstruction and decay?

Tutor’s notes continue…
Learning Logs or Blogs/Critical essays
Sue, your on-line learning log effectively charts your journey. You post
regularly, updating ideas and concepts, personal reflection, lines of research
plus personal discoveries. This log is well written, easy to navigate, presented
in a professional way showing a fluency of technical, visual and research
skills. You are articulate, self aware, very well researched and demonstrating
a developed intellectual understanding.
It is good to see that you are actively seeking our study visits and gathered so
much from the Whitworth Gallery, experiencing Cornelia Parker’s work. It is
clearly evident that you are inspired by contemporary art and focus on ways in
which you can address grave issues via your art practice. I am interested to
see where the old cine films will take you. Revisiting the old workhouse
before its demolition and projecting the images. Your work looks to uncover
hidden prejudices, discrimination and abuse of women through the ages and
cultural divides. The workhouse does have an affinity with the plight of FGM
in the links between women suffering due to birthright.
You include relevant website links and a cohesive bibliography again,
highlighting the depth of research gathered. I would encourage you to
continue scratching below the surface to find sources of inspirational
research. Perhaps argue both sides in your critical writing. You have papers
that relate to ‘why’ FGM happens, just highlight this in your own writing.
Imagine how difficult it must be to be born into this traditional cultural situation.
The stigma associated with not going through with FGM.

S.B response – I have completely missed this out in my consciousness, execution of the work and the blog.

Tutor’s notes continue…

Continue to photograph your work this is an excellent record of the processes,
applications, experimentation and exploration of materials. You include
relevant artists work images that have had an impact your development both
conceptually and methodologically. Experiencing the work is so important and
I would encourage you to continue visiting exhibitions and galleries as this
feeds your creative mind. Your personal reflection is always very heartfelt and
insightful. Well done!
Suggested reading/viewing
Other sites connected with FGM:­‐genital-­‐mutilation/
Tracey Emin:
Often make provocative work relating to the body, sexuality and being female.
Judy Chicago – The Dinner Party: (with a view to the table runner concept).
Nara Lubelski – (A Situation, Clumsy, Side Dish).
Nara Lubelski – (Repair & mend).

Coppard, Abbie and Costanza, Enrico and Pasqui Eleonora, Aware (2011),
Aware, art Fashion Identity. Damiani Editore, London, Royal Academy of Arts.

Wolf, Naomi,(1991), The Beauty Myth. 2nd ed., London, Vintage Books.
Pointers for the next assignment
• Maintain your excellent working practices.
• Continue to seek out inspirational research sites including galleries,
shows and exhibitions to feed your practice.
• Explain both arguments.
• Sketch regularly.
• Expand and push the boundaries of ideas before moving on.
• Consider merging concepts such as using symbols within the work.
• Push methods of exploration such as distorting, distressing,
exaggerating, etc.
• Continue taking risks and pushing the boundaries!

Well done Sue, this was a thought provoking and insightful body of
experimental work. I look forward to your next assignment.
Tutor name Lizzy Levy
Date 18th June 2015
Next assignment due TBC

Tutor report Part 1

Overall Comments

Sue, you have made a considered and very positive start to Exploring Ideas. You have worked carefully, investigating in depth historical lineage, methodically collecting and compiling a wealth of inspirational research. This body of research has led to experimenting with a variety of techniques, applications and materials to create conceptual ideas, samples and textile artworks. Sketchbooks contain testing, sketching, collage, print, research including notes and annotation. You have documented this emotional personal journey of discovery via your excellent on-­‐line learning log. Well, done.

Assessment potential (after Assignment 1)

You may want to get credit for your hard work and achievements with the OCA by formally submitting your work for assessment at the end of the module. More and more people are taking the idea of lifelong learning seriously by submitting their work for assessment but it is entirely up to you. We are just as keen to support you whether you study for pleasure or to gain qualifications. Please consider whether you want to put your work forward for assessment and let me know your decision when you submit Assignment 2. I can then give you feedback on how well your work meets the assessment requirements.

Feedback on assignment

Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity

Sue, you clearly used the body of research to inspire ideas and concepts, made innovative textile samples and utilised the research material within the actual work. I am particularly excited about the concept of darning and mending. Here, you darned over the faces of images that represented times in Helena’s life that she theoretically wanted to disappear. I think of darning, mending or patching as a forgotten skill. This wonderful art of mending perhaps evokes repairing of emotion or giving life to something, loving care of a worn garment. Something from a bygone era – as today we just discard or throw away. Therefore, the ‘Darning Helper’ is a really interesting tool!

You have used fabric as a medium to express the hidden aspects of Helena’s life via layering gauzes. The realities are perhaps distorted via the transparencies, as you cannot fully know the whole truth. It is great to see you really considering fabrics, material lineage as a way to convey history. Calico used because of its composition, weave and durability. You have explored drawing on fabric, embroidering text, collage (census forms & marriage certificates), photographs and printing on fabric. The constructed corset panels include darned areas evoking the period of dress during Helena’s life. You experimented with various colours via ‘word’ on the computer printing onto silk and calico.

Final selected designs ideas and concepts include:

The Victorian Mourning Cape purchased on EBay. This historic garment led you to consider using this as a vehicle to tell Helena’s story or perhaps create a 21st Century mourning piece. You created a sample including printed documents, beadwork, hand stitching and an antique clasp. This effectively conveys messages from the past in a sensory, contemporary manner. The antique cape is beautiful in its present state of wear with missing beads, faded fabric and tired lace. Perhaps you could consider thinking about this decomposition. The splendor of time ingraining and wearing imprints upon garments or artifacts, these then become transmitters of history. Perhaps the missing pieces of beadwork and lace are significant reflecting Helena’s story that has gaps. Could you consider creating an artwork that is decayed, distressed with missing pieces within it?

Images Layered As A Book:

Again this is a lovely conceptual idea. Could Helena’s life be transfigured into a cloth book? The gauze fabrics distort the images and text, this reflecting and how her life was transformed from relative affluence to poverty within the workhouse. Consider revisiting the tea stained samples. Stains evoke the concept of us not being able to wash away past experiences. It is often said, “It was a stain on his character”. Could this book be stained with memories that cannot be erased?

Printed Panels:

The conceptual idea of having large scale hanging panels is interesting and exciting. Again you could possibly consider extending some of your experiments. Perhaps include large darned areas, stains, embroidery, lace, layering transparencies to distort images and text.

Sue, you have a highly effective grasp of ideas and communication of those ideas. The work is presented in a professional manner showing strong judgement. I would encourage you to perhaps take a few more risks within the work. Extend experimentation & exploration of materials; push the boundaries of a technique or application. I could certainly see the darning, mending & staining go further.


Demonstration of technical and Visual Skills, Demonstration of Creativity

Within Part 1, Cultural Fusions, Sketchbook 3 you have evidenced a body of work that is strongly creative, takes risks with many imaginative and successful outcomes with a clear identifiable personal voice. Here, you have evidenced a body of work incorporating many techniques and applications including: mono print, collage, hand and machine embroidery. Within this sketchbook you are free in expression, experimentation and exploration.

In particularly the fragmented collage pieces are very successful. The interpretation into cloth (squares, stitched in rows) is also very affective. I could imagine your historic photographs fragmented in such a way. The fluid spaces giving rise to the notion of lost memories.

Learning Logs or Blogs/Critical essays


It is evident that this has been an emotional journey, as you researched your own ancestry and lineage. Firstly being drawn to your mother’s grandfather William Kitson who was a potter and came from the Romany community travelling in a traditional wooden Vardar. Looking at your ancestry led to looking at your father’s lineage. Here, you found a rich tapestry of human struggle including a great grandfather James Kinnear, who was an inventor involved in designing prosthetic limbs, his wife Helena who sadly was at one time living in the workhouse with her daughter.

You truly threw yourself into discovering as much as possible relating to the life and times of your predecessors. Including scouring sites such as, darning & mending, the Romany Community, fashion 1870 – 1880, prosthetics, and workhouses including corresponding with Lyn Howsan who wrote about Firvale Workhouse. Here, you document study visits to: The Thackray Medical Museum in Leeds, Lynda Benglis at the Hepworth Gallery, Tabitha Moses (Moses used human bones to build a limb using cotton fabric, sawdust & hand embroidery), Investment at the Walker Gallery in Liverpool, plus visiting the grave yard where your great grandparents are buried.

Many books and articles are listed too including a paper written about the textile artist Beth Barron relating to ‘telling stories’ via textile artworks and The Corset, a Cultural History by Valarie Steele.

You have documented this voyage of discovery via in-­‐depth writing on your on-­‐line learning log. Here, you have also included personal reflection; revisiting work that you felt was relevant (the white embroidered piece – made from donated fabric – and created whilst you were in psychotherapy – navigation of life). This evidences you are highly articulate and self aware, having extensively researched, therefore demonstrating a highly developed intellectual understanding.

Suggested reading/viewing


Cloth and Memory Exhibition (Salt Mill)
Lost in Lace (Curated by Gail Baxter) At the Gas Hall, Birmingham Museums & Art Gallery Artist
Anslem Keifer (who has an interest in materials that decay over time
Anne Wilson (her series ‘Topologies’ – using deconstructed black lace)‐credits.html
Transition & Influence (University for the Creative Arts)
Fibre Arts: (Great article)
Claire Barber (text) Louise Bourgeois – The Fabric Works‐bourgeois-the‐fabric works/view/
Mawra Tahreem (Emotions, Thoughts and Experiments)‐thoughts‐experiments/

• Quinn, Bradley, (2009), Textile Designers The Cutting Edge. London, Laurence King Publishing, Hudson.
• Celant, Germano, (2010), Louise Bourgeois The Fabric Works. Milan, Italy, Skira Editore S.P.A.
• Impey, Sarah, (2014) Text in Textile Art. Batsford Ltd. ISBN: 9781849940429

Pointers for the next assignment:

  • Maintain your excellent working practices.
    • Consider extending the ideas & concepts of: mending, darning, staining & patching.
    • Take risks within your ideas & concepts for final samples.
    • Perhaps capture elements of your exploration & experimentation in Sketchbook 3 with the ideas you have for finished pieces.
    • Consider refining your research area to one or two elements and then pushing all the possibilities & boundaries of that inspirational material.

Well, done Sue, I look forward to your next assignment. You have a wealth of research here that I think will feed wonderful ideas for future projects.