PATCH WORK

PATCHWORK:
I LOVE PATCHWORK FOR ITS INFINATE DIVERSITY AND PROBLEM SOLVING ASPECTS TO IMAGE MAKING. ALTHOUGH IT HAS IT ROOTS IN TRADITION I FEEL THAT THERE IS GREAT SCOPE FOR IT TO BECOME SOMETHING REALLY CONTEMPORARY. BELOW ARE FOURS DIFFERENT PATCHWORK EXAMPLES, WHICH DEMONSTRATE THE POTENTIAL IN TERMS OF IMAGE MAKING..

EXAMPLE ONE IS THE MORE DECORATIVE APPROACH, WHERE THE PATCHWORK FILLS THE SAME ROLE AS A PENCIL OR PAINT BRUSH. HOWEVER, DUE TO THE NATURE OF THE PROCESSES INVOLVED IN CUTTING PATCHWORK PIECES, IN ORDER TO MAKE THEM FIT TOGETHER, THE THOUGHT PROCESS OF THE 'ARTIST' BECOMES APPARENT THROUGH THE IMAGES.



EXAMPLE TWO IS THE NARRATIVE APPROACH. THIS PATCHWORK HAS COMBINED A NUMBER OF EASILY RECONISBLE ELEMENTS, LIKE THE HORSE AND THE TREES AND PUT THEM TOGETHER TO FORM PART OF A LARGER STORY. THE VISUAL LANGUAGE HAS ALSO BEEN REDUCED DOWN TO ITS SIMPLEST FORMS, SO THAT THE PERSON WHO MADE THIS PATCHWORK WAS REALLY HAVING TO THINK ABOUT WHAT EACH SHAPE AND COLOUR WOULD SAY IN TERMS OF THE OVERALL STORY. BECAUSE PATCHWORK IS ALOT MORE TIME CONSUMING THAT DRAWING AS IT IS PROCESS LED, IT MEANS THAT YOU HAVE ALOT MORE TIME TO CONSIDER WHAT YOU ARE GOING TO DO NEXT. AS WITH ALL PROCESS LED IMAGE MAKING LIKE, SEWING/PRINTING/WOOD WORK THE PROCESS BECOMES PART OF THE IMAGES AND ADDS SOMETHING EXTA TO THE FINISHED WORK.



EXAMPLE THREE IS A MORE GRAPHIC/PATTERN BASED APPROACH. I REALLY LOVE THIS BECAUSE IT IS SO MUCH ABOUT COLOURS, SHAPES, NEGATIVE SPACE, CREATING A WHOLE OUT OF SMALLER ELEMENTS. THIS PATCHWORK LOOKS QUITE SIMPLE, BUT IT IS INCREDIBLY DIFFICULT TO MAKE - ESPECIALLY WHEN YOU START TO FACTOR IN THE PATTERN CUTTING PROCESS AND THE WORKING OUT OF THE ANGLES..



EXAMPLE FOUR IS GRAYSON PERRY'S 'RIGHT TO LIFE' QUILT, WHICH IS AN EXAMPLE OF A CONTEMPORARY ARTIST'S ATTEMPT AT A PATCHWORK. THIS IS ONE OF THE MOST MODERN EXAMPLES OF WHAT CAN BE ACHIEVED WITH THIS MEDIUM AND I THINK IT REALLY WORKS. IT COMBINES PATTERN MAKING WITH ABSTRACTION WITH IMAGE MAKING TO FORM A REPEAT PATTERN USING A LIMITED COLOUR PALETTE. IT IS REALLY EFFECTIVE AND A REAL INDICATION OF HOW MUCH POTENTIAL THERE IS IN PATCHWORK AS AN IMAGE MAKING TOOL.

E FIT

LOOKING AT THESE RETROSPECTIVELY, THEY HAVE ELEMENTS OF PATCHWORK QUALITIES ABOUT THEM IN THE WAY THAT A SINGLE IMAGE IS MADE UP OF A COMPOSITION OF VARIOUS SMALLER PIECES. I THINK MY FASCINATION WITH E FITS MUST HAVE SUB-CONCIOUSLY FED INTO MY INTEREST IN PATCHWORK...

WANTED POSTERS

WANTED POSTERS AND MIKE KELLEY'S POSTERS SHARE THE SAME AESTHETIC QUALITIES. BOTH ARE STRIKING IN THEIR SIMPLICITY BUT THE MESSAGES THEY CONTAIN ARE VERY DIFFERENT.

MIKE KELLEY/HAIM STEINBACH

MIKE KELLEY
AMERICAN ARTIST
1950's

MIKE KELLEY MADE FELT BANNERS THAT LOOKED LIKE HIGH SCHOOL FLIERS AND POSTERS. HE WAS INTERESTED IN THE IDEA OF CRAFT AND THE WAY THIS CAN HEIGHTEN AN OBJECT. IN THE INTERVIEW BELOW HE TALKS ABOUT HOW HE BEGAN TO SEE OBJECTS NOT FOR WHAT THEY WERE BUT INSTEAD JUST FOR THE NUMBER OF HOURS THEY HAD TAKEN HIM TO MAKE. I CAN DEFINATELY EMPATHISE WITH THIS - BUT IT IS IMPORTANT TO QUESTION WHETHER THIS MAKES AN OBJECT MORE OR LESS IMPORTANT JUST BECAUSE OF THE TIME IT TOOK TO MAKE AND THE SUBSEQUENT PRESSURE THIS PUTS ON SOMEONE, IN A WAY, TO LIKE IT.
I REALLY LIKE THE IDEA OF SOMETHING TIME CONSUMING ENDING UP LOOKING LIKE SOMETHING THAT TOOK NO TIME OR SKILL. IT MAKES YOU QUESTION WHY WE PLACE IMPORTANCE ON CERTAIN THINGS AND NOT OTHERS..

http://www.bombsite.com/issues/38/articles/



THESE ARE TWO ARTISTS MENTIONED IN THE INTERVIEW.

HAIM STEINBACH

A FASCINATING INTERVIEW WITH STEINBACH ABOUT HIS VIEWS ON HIS WORK AND THE OPINION OF OTHERS VIEWS OF HIS WORK. A REALLY INTERESTING PIECE ABOUT RELATIONAL AESTHETICS WHICH TIES IN WITH MY DISSERTATION RESEARCH. HAS THE ARTIST BECOME A CURATOR? STEINBACH EXPLORES HIS RATIONALE FOR MAKING WORK THE WAY HE DOES AND THE MISINTERPRETATIONS AND COMMON ASSUMTIONS SURROUNDING IT.




ABOVE:
RELATED AND DIFFERENT - 1985
(PIECE DISCUSSED IN THE INTERVIEW)
BELOW:
PINK ACCENT - 1987



BARRY LE VA

EMBROIDERY (P.1)

THE OTHER PART OF PROJECT ONE IS THAT I HAVE BECOME INTERESTED IN EMBROIDERY. I HAVE BEEN STUDYING FOLK ART FOR A WHILE, AND ONE OF THE MAIN PRINCIPLES INVOLVED IN IT IS THE NOTION OF HAND CRAFTINESS AND THAT IT EXISTS INDEPENDENTLY OF MASS PRODUCTION. AS AN ILLUSTRATOR, I FIND THIS INTERESTING BECAUSE USUALLY THE DRIVE IS TO REPRODUCE YOUR WORK IN THE FORM OF A BOOK OR A PRINT ETC.
I HAVE BEEN STRUGGLING WITH DRAWING FOR A WHILE AND NEEDED A NEW WAY TO CHALLENGE MY IMAGE MAKING. I REALLY LIKE THE IDEA OF CREATING A ONE OFF PIECE OF WORK THAT LOOKS IN SOMEWAY MASS PRODUCED. IT WOULD ALSO BE INTERESTING IF I HAVE TIME, TO SEE IF IT IS THEN POSSIBLE TO USE THE ONE OFF EMBROIDERED PIECE AS THE SOURCE FOR SOMETHING PRINTED - POSSIBLY A BOOK OR A ZINE..

THESE ARE SOME EXAMPLES OF THE FIRST BITS OF EMBROIDERY I HAVE BEEN DOING. THE SCANS ARE TERRIBLE BUT THEY AT LEAST GIVE AN IMPRESSION OF WHAT I AM DOING...

PROJECT ONE.

AIMS:

WHAT I AIM TO ACHIEVE FROM PROJECT ONE, IS TO MAKE SOMETHING THAT LOOKS MASS PRODUCED OR PRINTED FROM SOMETHING THAT IS ACTUALLY A ONE OFF PROCESS SUCH AS EMBROIDERY. I THINK THIS CREATES AN INTERESTING TENSION IN THE WORK - WHERE WHAT YOU SEE AND WHAT YOU ACTUALLY SEE AND ONLY SEPERATED BY A VERY SMALL DETAIL. I HAVE ALWAYS BEEN INTERESTED IN THE PROCESS OF MAKING WORK - AND I THINK THIS WILL CHALLENGE MY PROCESS BECUAUSE I WILL HAVE TO WORK OUT HOW TO TECHNICALLY MAKE IT HAPPEN.
I THINK THE SUBJECT MATTER FITS THIS IDEA REALLY WELL, BECAUSE IT IS WHAT I THOUGHT ABOUT WHEN I SAW THE PEOPLE ON THE MOST WANTED LIST. THEY LOOK LIKE 'NORMAL' PEOPLE ON THE SURFACE, BUT ACTUALLY THEY ARE SERIOUS CRIMINALS. IN SOME CASES YOU LOOK AT THEM AND INSTANTLY THINK THAT THEY LOOK A BIT SHADY, BUT THERE ARE SOME WHERE YOU WOULD PROBABLY NEVER SUSPECT THEM. IT IS A DOUBLE TAKE WHEN YOU READ WHAT THEY HAVE DONE.
I HAVE ALSO ALWAYS HAD A FASCINATION WITH STUDYING PEOPLE AND CHARACTERS AND LOOKING AT THE FINEST DETAILS IN A FACE THAT ARE SO INFLUENCED BY ENVIRONMENTAL FACTORS. I FIND THE CRIMINAL FACES REALLY INTERESTING -AS THEY ARE A GROUP OF PEOPLE YOU WOULDN'T OFTEN GET THE CHANCE OF SEEING ON MASS IN CLOSE PROXIMITY....HOPEFULLY.

PATRICK FRY

THIS ZINE IS BEAUTIFUL IN ITS SIMPLICITY AND 'CLEANNESS'.

PATRICK FRY
NO.ZINE
WWW.DOITFORTHEFAME.COM

ALEX HULME

INSPIRATIONAL THINKING

http://www.alexhulme.com/studies/lost-objects/


A PLATE THAT BREAKS IN TO TWO SMALLER PLATES WHEN DROPPED. THERE ARE SOME GREAT IDEAS ON THIS WEBSITE AS WELL AS SKILLED CRAFTMENSHIP. THERE IS ALSO AN INTERESTING CONCEPT ABOUT DOCUMENTING EVERYTHING HE USES THROUGHOUT HIS DAY FROM THE TINIEST AND MOST INSIGNIFICANT TO THE LARGEST AND MOST IMPORTANT. HIS USE OF A SIMPLE SAME SIZE PHOTOGRAPH FOR EACH OBJECT,LENDS ITSELF TO THE PROJECT. GIVING IT A FORMULA SO IT DOESN'T BECOME TOO ABSTRACT. HOWEVER, THERE ARE OBVIOUSLY SOME THINGS THAT HAVE BEEN MISSED OUT, SO IT WOULD BE INTERESTING TO SEE THIS PROJECT TAKEN FURTHER TO ENCORPERATE EVEN THINGS LIKE ZIPS AND LIGHT SWITCHES.

JAMES CASTLE

JAMES CASTLE
1899 - 1977
BELOW: IN HIS WORK SHED 1950'S


HE WAS DEAF AND MUTE AND NEVER LEARNT SIGN LANGUAGE OR ANY OTHER FORM OF COMMUNICATION APART FROM EXPRESSING HIMSELF THROUGH DRAWINGS/COLLAGES/HIS OWN CODE. IT IS NOW ALSO THOUGHT THAT HE WAS AUTISTIC. HIS PARENTS WERE POSTMASTERS AND HE USED THE VARIOUS EPHEMERA FROM THEIR JOBS TO CREATE HIS ART WITH AND ON. HE MADE HIS OWN 'INK' USING SOOT AND SALIVA. A DISPLAY OF HIS WORK WAS SHOWN IN THE AMERICAN FOLK ART MUSEUM IN NEW YORK.




I ABSOLUTELY LOVE ALL OF HIS WORK. I THINK THAT IT COMMUNICATES SO STRONGLY HIS OWN INTERNAL UNIVERSE AND ALL THE ELEMENTS TOGETHER FORM A COMPLETE WORLD. I HAVEN'T SEEN ANY WORK THAT I HAVE FOUND SO EXCITING/INTERESTING/EMMOTIVE/EXPRESSIVE IN A LONG TIME..

CURRENTLY READING

JEAN BAUDRILLARD
THE CONSPIRACY OF ART
2004



E.G EMMINSON
INTRODUCTION TO ARCHIVES
1978



BOOKS TO READ::

NICOLAS BOURRIAUD
RELATIONAL AESTHETICS
2002



JAMES CASTLE
A RETROSPECTIVE
2008

PALAIS SCHAUMBURG

PALAIS SCHAUMBURG WERE A GERMAN NEW WAVE BAND AROUND IN THE EARLY EIGHTIES. THEY ARE ONE OF MY TOP BANDS AND THIS VIDEO IS PROBABLY MY FAVORITE MUSIC VIDEO...



PALAIS SCHAUMBURG - TELEFON - 1981



1000 ROBOTA ARE A GERMAN BAND CURRENTLY IN EXISTENCE. THEY ARE ALSO AMAZING AND THEIR COVER OF WIR BAUEN EINE NEUE STADT IS REALY GOOD - ESPECIALLY LIVE.

SHOWstudio / FASHION FILM

SHOWstudio: FASHION REVOLUTION
SOMERSET HOUSE
UNTIL DEC 20 TH



NICK KNIGHT.
TALKS ABOUT HIS BELIEF IN SHOWING THE PROCESS BEHIND CREATING A PIECE OF WORK 'FROM CONCEPTION TO COMPLETION'. ALSO TALKS ABOUT WHAT THE INTERNET HAS DONE FOR INTERACTIVITY BETWEEN AUDIENCE AND FASHION PHOTOGRAPHERS.
FASHION FILM - NOT BEHIND THE SCENES BUT ACTUALLY SHOWING SOMETHING MORE THAN JUST A PHOTO
SHARES THE SAME BELIEF AS GARETH PUGH THAT FASHION SHOULD BE SEEN IN MOTION


FANTASIA

THE SHIPPING FORECAST

THE BBC WEATHER CENTRE - COAST AND SEA - SHIPPING FORECAST
THE SHIPPING FORECAST IS SOMETHING PROBABLY RECOGNISED BY EVERY PERSON IN ENGLAND. IT LINKS INTERESTINGLY INTO THE IDEA TALKED ABOUT BY KATE FOX IN 'WATCHING THE ENGLISH' CALLED 'ENGLSIH WEATHER TALK'. WHERE PEOPLE USE THE WEATHER AS A FORM OF GREETING AND ICE BREAKING. ONCE YOU START LISTENING TO CONVERSATIONS YOU START TO REALISE HOW MUCH WE RELY ON THE WEATHER AS A CONVERSATIONAL PROP.

http://www.bbc.co.uk/weather/coast/shipping/

ESCAPE MAPS AND MONOPOLY

DURING WORLD WAR TWO, SMALL SILK 'ESCAPE MAPS' WERE PRINTED AND SMUGGLED TO PRISONERS OF WAR TO HELP THEM TO ESCAPE. THEY WERE EASILY CONCEALED IN THE HEELS OF SHOES OR CIGARETTE PACKETS AND DIDN'T RUSTLE LIKE CONVENTIONAL PAPER MAPS. THEY WERE ALSO MORE RESISTENT TO THE ELEMENTS THAN PAPER.





ALONG WITH THE MAPS, TINY COMPASSES CONCEALED INSIDE BUTTONS AND OTHER COMMON ITEMS TO BE USED ALONG WITH THE MAPS TO HELP P.O.W ESCAPE AND SUCCESFULLY NAVIGATE UNKNOWN TERRITORY.



THE BOARD GAME MANUFACTORERS - WADDINGTONS - WHO MADE MONOPOLY HAD PERFECTED THE TECHNICALLY DIFFICULT TASK OF PRINTING ON SILK BEFORE THE ON SET OF THE WAR, SO THEY WERE ENLISTED TO PRINT THE SILK ESCAPE MAPS.
THEY ALSO EMBEDDED HUNDREDS OF ESCAPE KITS INSIDE MONOPOLY GAMES. SERVICE MEN WERE TOLD TO LOOK OUT FOR SPECIAL BOARDS MARKED WITH A RED DOT ON THE FREE PARKING SQUARE. THEY WERE DELIVERED BY CHARITY WORKERS. THEY CONTAINED MAPS, COMPASSES, TOOLS AND REAL MONEY HIDDEN UNDER THE BANK NOTES

QUILTS.

FOR MY SECOND PROJECT I AM INTERESTED IN MAKING MY OWN QUILT. I HAVE BEEN VERY MUCH INSPIRED BY MY RESEARCH IN TO FOLK TRADITIONS AND CRAFTS (FOR MY DISSERTATION AND UNIT 10). QUILTING IS CENTURIES OLD AND A QUILT WAS OFTEN MADE AND HANDED DOWN THROUGH THE FAMILY AND ADDED TO. THERE ARE SO MANY DIFFERENT TYPES OF QUILTS THOUGH (BELOW) AND A PARTICULAR FAVEROUTE OF MINE AT THE MOMENT IN GRAYSON PERRY'S 'RIGHT TO LIFE' QUILT. IT HAS A TRADITIONAL FEEL BUT AT THE SAME TIME HAS PUSHED THE CONCEPT FORWARD WITH THE SUBJECT MATTER.

(STARTS IN MARCH 2010)
VNA.
QUILT EXHIBITION.
QUILTS 1700-2010.
http://www.vam.ac.uk/exhibitions/future_exhibs/Quilts/index.html


GRAYSON PERRY
'RIGHT TO LIFE'.
1998.


RAJAH QUILT.
1841.
MADE BY CONVICTS ON BOARD HMS RAJAH


TRACY EMIN.
2002.
TO MEET MY PAST.

TRACY EMINM TEXTILES

TENT.
EVERYONE I HAVE EVER SLEPT WITH 1963 - 1965




BLANKETS