Today we received the videos from Diana Taylor talking about her work and research and it was more relevant and useful then I expected, there's a lot of overlap in her research and way of thinking/archiving that were similar to my way of working, it was very inspiring to see how she works through the very 'tangled' 'layered' web of research, at the same time shifting through time and being fascinated by contradictions. (which is what I'm doing now). From hearing about and seeing her work I see now that collage can be a very finished bit of work and I am now very excited to put the same amount of energy, play, and thought into them as I would in a painting - utilising the technologies I have and really thinking about the strange times we live in.
Through the videos I realised many similarities with my work/thinking and new ways to approach or think about the collage (tension in contradictions, aligning of different images in line etc, personal and historical archives, the ideas between past/present, traditional/technological processes, shifting times..) - in her way, a lot of it is to do with the fragmenting of the image, which I've never really thought about before. I've always used the collage as a way of, almost desperately trying to piece together an abstract image of my head, into something solid that I can see on the outside, and for others as well. The result will not be what is in my head, but it makes a whole new entity from that image from my subconscious and I think that stands for something. I suppose I never thought about starting off with one image and wanting to break it down, I've always approached it like already fragmented pieces, trying to fit them together like a nonsensical puzzle.
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two talks by Diana Taylor for paintingresearch
Working with a multidisciplinary practice and paradoxical processes of painting/un-painting, printing/deleting, stitching/unpicking, weaving/unravelling, I embrace contradictions and collapse hierarchies, reflecting a sense of the heterogeneous society and times in which we live. I merge analogue, mechanical and digital technologies, examining constructs of time through anachronism and poly-temporality.
The mix of Cypriot and English cultures of my own genealogy has, undoubtedly, shaped my assemblage based approach, combining analogue/digital, art/craft, high/low cultural tropes.
The images and processes in my work are linked by my pre-occupation with loss, redundancy and the ruin in visual culture. Low-res, poor reproductions of ruins and Ancient Greek sculptures are woven through motifs, diagrams, digital clip art and analogue stock imagery from printers’ catalogues.
Screen-printing, photocopiers and analogue projectors are used as much for their visual qualities as for their inherent ability to produce failures. I subvert the intention and precision of 3D scanning media, taking the data to 2D and pushing the technology back to materiality; returning to the hand.
The reproduced image is once again scanned, photocopied and digitally edited and so subjected to a kind of entropy, highlighting the contradictions and failures of our times.
I'm interested in what is at stake and concerned with painting in a digital age, constantly shifting between states of completion and decision. Images are deleted, layered and obscured, producing fragments and layered palimpsests, nodding towards digital and environmental collapse; the image itself becomes a ruin.
More about Diana's work can be seen at: https://www.dianataylor.co.uk/
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speaking from my studio space in chisenhale. Practice-based PHD collaboration with the William Morris gallery. practice and background shapes her research. Background: interest in craft, growing up in a house where mum was into interior design and decoration and craft. mother grew up in Cyprus went to school wirer all girls would do needlework and tapestry, traditional handwork. So all around the house. Remember these embroideries cushions sewn pictures… she was also into dress making , curtains, everything really based on pattern. Very richly decorated. Was my surrounding. Really shapes my practice now. What I remember clearly was having Laura Ashley wallpaper/duvet set, really hating it, pink and green found it sickly, sweet backdrop. Remember putting Jane’s addiction etc posters over this. This displacement of pattern and image really the beginnings of when I started to make her own assemblages and collages in a way . Really like those mismatches in the image and pattern. Obviously my interest in William Morris comes from this interest in pattern, being surrounded by craft from an early age. Have used craft materials in my work, painting for a while, tend to come from my mum’s needlework patterns, they’re grid based, used those to translate into painting in grid and started to have references like early video games or mosaic references. Liked that it could traverse through time. Then I did residency in modern art Oxford in 2015 and that was the first point when I was explicitly focused on Morris and also on using actual materials that I was working with, the offcuts, the remains of the projects. In that project I was asked to do a week residency, called love is enough curated by Jeremy Deller. Showcased William Morris and Andy Warhol and my work was , interest in print, took me there. Making there and large fabric hangings, beginnings of large assemblages using the actual fabric. So from that point onwards, explicitly used craft materials in her practice, and that’s taken me to where I am now as a PHD researcher. Looking at specifically the value/relevance of the hand in the digital/post digital age. Focused on combining / convergence of hand, mechanical processes. As screen printing and some sewing machines, digital processes like 3D scanning and digital collage using photoshop. Low-fi Digital processes apart from the scanning, but will come on to that.
Apologies if I flit around, how my brain works and how the work is, full of various images very layered. So the research concepts are focused on nature of time. Shifting of times and temporalities, from past and present. And then speculations of future. And that’s my own interest and and brought into my work and always have. Brought own archival images into my work and that’s really where my main interest with Morris lies, though there are a lot of things about him that I’m interested in, another huge interest is his polymathic? character , he was obsessed with the Middle Ages, was looking back to medievalism with a look to how we should live. So he would look to the past to think about how we should look to the future. And he was very focused on the way they made, traditional processes they’d use. Absolutely against his own time which was industrial revolution and mass production. Very much against what was going on in his contemporary time. Was focused and active about putting across his views as to how we should live. I think that is really interesting now, where we find ourselves again in this fourth revolution or digital revolution in which we are again in a time of accelerating technology which he was. And what’s happening now at this time tech is moving so rapidly and at the same time as moving rapidly is slowing down especially interestingly right now as I talk we are in lockdown. This is an interesting time to be reflecting on what’s going on, in contemporaneity, focus of my interest here is not only the shifting times, but notion of poly-temporality, which is very much at the heart of contemporaneity, and that meaning we are through the internet surrounded or access to available and readily accessible other histories at our fingertips, and that brought this notion of poly temporality or atemporality many times, so against time, NOT contemporary. I find this really interesting, some of the writers, philosophers I’m reading right now talk about the notion of not moving forward of the future being lost future because we keep returning to the past, placing hierarchy on the past. Looking specifically at, Boris groys, Terry smith, Jeff cox, Giorgio agamben, these writers talk about the contemporary construct and what that actually means. And it shouldn’t be ignored the fact that, mark fisher who wrote and blogged extensively on the subject of Hauntology a concept which is in a nutshell about the past within the present. The present past within the present. So this idea of haunting like a ghost so the past continuing to come back. I think this notion is something that is contradiction in terms of what the word contemporary means, also think the times we live in is incredibly contradictory. Shifting of past and present and focus. And also with speculations of the future.
So I think Morris is a really important ghost to learn from today. On many levels we can look to what he said, won’t go on about those things, but its why Im intersected in him right now. through my practice, a new way to look at Morris in the twenty first century so rather than doing anything gimmicky with his work I wanted find a new way of looking at his work that wasn’t just changing the colours or inverting the colours or doing something novel. So Ive come to use a variety which I’ll speak about in a moment. My practice is multidisciplinary primarily working with painting and needle work tapestry fabrics. Bringing that into the realm of painting , or hangings depending whether they’re stretched or not, they take on different terms. but the notion of this convergence also moves into the convergence of media. So that being trying to bring all of these analogue mechanical and digital processes together and to look at the past through the present. So they’re extremely layered and quite full, maximilist, more than minimalist kind of approach, often there’s a little too much going on in a way, and that’s where I break them down and fragment them, unpaint, unmake what’s going on.
So what Ive come to do with the methods, come to a point of working on some new paintings these are the calendar paintings obviously referencing time, I began to look at the archives that I have. My archives first of all, is both personal and historical, and this is the basis of my research. Auto ethnograpraphical methodology to the research so its looking at Morris, other histories, theory, using this personal locus. I’ve come to use archives I’ve always used archives in my work everything is an appropriated image pretty much except for the painting, the gestural, otherwise everything comes form books I collect, quite often they’re obsolete, or they might be illustration books, or how-to, diagrams of things, infographics basically, huge interest in that, and obviously craft books and patterns , old magazines, there’s also the digital archive, quite often from news sites, and within the past, seven-ish years I’ve been focusing on natural disasters and using images of ruins, partly as a metaphor of painting itself and breaking down the image. So fragmentation is a huge method in my work. So using archives I’ve got a real interest in flatness. And flat image refers not only to the book, printed image and also to the screen, and I’ve grown up very luckily to have known time pre-internet, pre-phones and all of that so I’ve got this dual background in a way of interest in working in media. So the flattened image in layers is how I work. So just talking about these calendar paintings. I was using the calendar to think about Morris in a new way. Now obviously the calendar is a reproduction and Im really fascinated, the research is very much focused on the reproduction. That’s the times we live in. Somebody like hito steyerl, artist and writer, who writes on the poor image, in defence of the poor image has been quite influential to some of the writing that’s going on at the moment and I’ve been certainly breaking down the image, anyway.
In order to keep it just between abstraction and representation, just about legible. That’s what I was doing with the ruin paintings. So I wanted to look at Morris in a new way and look at the reproduction of Morris as well. So authenticity is a huge focus. So I started scrunching up these old calendar pages and scanning them on the photocopier, and the effect of this has led to a new series of works in which parts of the image are in focus and parts of the image are out of focus because they don’t sit flatly on the scanner, and that’s also talking about the notion of the Spector of the ghost, its neither here, its neither absent or present, its both, so I like that, again another contradiction coming into the work. So you’ve got the front of the calendar you’ve got the pattern, and the back you have the dates, and this particular calendar, some information about Morris, about the arts and crafts movement, so there’s little snippets of text that give a hint as to what the focus of the work, the hand and craft and digital print of the fold. And the fold is really only done by hand and yet the digital print of the folded paper is way more effective in that kind photographic representation. And with these calendar pages I’ve layered them in photoshop. So there’s quite a bit of time that goes into the digital collaging, they’re printed onto cotton canvas, and then on top of those I start screen printing. I’ve been screen printing snippets, little details, my mum’s old tablecloths, the crochet or the embroidery around the edges and things so it’s real play with scale, layers, translucency. Onto the next stage is to start painting or stitching. The painting process is the notion of un-painting as well so whilst building up the image Im also breaking it down. I want things to be fragmented in the work as conveying the sense of the world, and the notion of things falling apart. So there’s snippets and fragments and often final part of the process is try and weave everything together, metaphorically with these big fat lines that attempt to hold the painting back together, and at points Ive used threads dropped onto a projector that helped unite the fragmentation again. So there’s this constant push and pull, yes and no, contradictory way of working that just infiltrates the whole practice really. So this notion of contradiction in times is really pertinent to the methods as well. So the methods just to recap, is folding, the folds then also, I’ve got a real interest in drapery that derives mostly from the notion of the past and Ancient Greece and Rome and looking at lots of books on Ancient Greece and sculpture and Bernini, an ancient baroque period. And I’m just really compelled by something fluid, and really amazingly crafted in stone. Again playing with something so soft and flowing, in stone. And also of course the fold relates back to the process. And to paper and textiles theres a lot of meta things relating back to themselves so I’ve spoken about folding flattening and fragmenting those are the main methods I’m really interested in at the moment.
And of course there’s layering and un-painting, pushing and pulling. Other things that are going on in my work right now is that I’m doing some weaving, and the weaving started couple of years ago beginning of PHD, partly conceptual and also with broadening my own skill set in crafts so I’m quite interested in sloppy craft in a way, as I am with undo-ing an image, destruction of image. With weaving you’ve got to learn it, for me I found it was very complex at first, I’m getting used to it but the actual threading up can be a bit of a nightmare. But there’s also this conceptual interest in weaving, which refers and comes from the grid, the warp and the weft, and that relating to the notion of the pixel. And the zeroes and ones in programming computing relating to Jacquard loom weaving. So that’s a whole other avenue in itself. There’s an interest in pixels throughout the ages, that being one of the main relations to my own interest with fabrics being past in the present so it stems a lot from this notion of weaving, I’ve been using a hand loom and have made some really artificially coloured hangings which aim to look at the digital realm again through the traditional process. Also been using a digital jacquard loom to make some black and white woven cloth and these are based on a print from the Kelmscott Chaucer printed book that was made from Morris. It was the last project before he died it was published in 1896 when he died. This is a fascinating book, I remember looking at as a child. Impossible to read but really, I loved this complexity, density of line in the Kelmscott Chaucer, in Morris’ work, it’s the borders, those are designed and made by Morris, and the illustrations were done by Edward Bure-Jones, so the borders framed the illustrations which narrate the story, then the illuminations, again done by Morris, so the large letters at the beginning of the work, the prose, and they were printed by someone else (not by him). This density of line and pattern, Im just fasciated by. That just shaped my own love for the jarring of many different images pattern text etc. so I’ve been specifically choosing fragments from the Kelmscott Chaucer, obviously I’ve been looking at a reproduction of my own copy of it, so it’s a woven reproduction of a reproduction of a print. And again this meta process really interests me. I’ve chosen fragments of drapery, so I’ve woven something that would have been woven, I’ve also chosen images where the hand is present and the hand is really pertinent to the research. There’s a part of the research that looks at what were doing with our hands now, and I’m referring to the book Hands what we do with them and why and its by Darian Leader and I found this really interesting, he talks about where we are now with this device that became the extension of our hand. And this notion of swiping and scrolling and zooming in and tapping and what’s happened to the repertoire of our hand gesture what happen to making and what about what’s going to happen to making in the future. I find this really interesting this inheritance that I had, of needlework, not to say I’ve inherited any good skills cause I basically just shunned it and wanted to do painting, but I learnt them now to some extent. But Im really interested in that, whether these skills become lost. Which they undoubtedly will. Again this is really interesting this contradiction here, becoming lost, right now people stuck at home are wanting to learn this instrument I haven’t played for ages or learning to make bread or whatever it may be, or do art or learn weaving sewing embroidery etc. so we find ourselves back in a slower pace, and this interest in weaving, certainly in the weaving class that I go to, seems to be really popular. I wonder why this happens again in a time of technological change when we’ve got AI, also a fear of the technology we’ve created, and a longing for the past. So that’s the thinking behind the weaving, I think I’ve covered a lot of the things.
In order to keep it just between abstraction and representation, just about legible. That’s what I was doing with the ruin paintings. So I wanted to look at Morris in a new way and look at the reproduction of Morris as well. So authenticity is a huge focus. So I started scrunching up these old calendar pages and scanning them on the photocopier, and the effect of this has led to a new series of works in which parts of the image are in focus and parts of the image are out of focus because they don’t sit flatly on the scanner, and that’s also talking about the notion of the Spector of the ghost, its neither here, its neither absent or present, its both, so I like that, again another contradiction coming into the work. So you’ve got the front of the calendar you’ve got the pattern, and the back you have the dates, and this particular calendar, some information about Morris, about the arts and crafts movement, so there’s little snippets of text that give a hint as to what the focus of the work, the hand and craft and digital print of the fold. And the fold is really only done by hand and yet the digital print of the folded paper is way more effective in that kind photographic representation. And with these calendar pages I’ve layered them in photoshop. So there’s quite a bit of time that goes into the digital collaging, they’re printed onto cotton canvas, and then on top of those I start screen printing. I’ve been screen printing snippets, little details, my mum’s old tablecloths, the crochet or the embroidery around the edges and things so it’s real play with scale, layers, translucency. Onto the next stage is to start painting or stitching. The painting process is the notion of un-painting as well so whilst building up the image Im also breaking it down. I want things to be fragmented in the work as conveying the sense of the world, and the notion of things falling apart. So there’s snippets and fragments and often final part of the process is try and weave everything together, metaphorically with these big fat lines that attempt to hold the painting back together, and at points Ive used threads dropped onto a projector that helped unite the fragmentation again. So there’s this constant push and pull, yes and no, contradictory way of working that just infiltrates the whole practice really. So this notion of contradiction in times is really pertinent to the methods as well. So the methods just to recap, is folding, the folds then also, I’ve got a real interest in drapery that derives mostly from the notion of the past and Ancient Greece and Rome and looking at lots of books on Ancient Greece and sculpture and Bernini, an ancient baroque period. And I’m just really compelled by something fluid, and really amazingly crafted in stone. Again playing with something so soft and flowing, in stone. And also of course the fold relates back to the process. And to paper and textiles theres a lot of meta things relating back to themselves so I’ve spoken about folding flattening and fragmenting those are the main methods I’m really interested in at the moment.
And of course there’s layering and un-painting, pushing and pulling. Other things that are going on in my work right now is that I’m doing some weaving, and the weaving started couple of years ago beginning of PHD, partly conceptual and also with broadening my own skill set in crafts so I’m quite interested in sloppy craft in a way, as I am with undo-ing an image, destruction of image. With weaving you’ve got to learn it, for me I found it was very complex at first, I’m getting used to it but the actual threading up can be a bit of a nightmare. But there’s also this conceptual interest in weaving, which refers and comes from the grid, the warp and the weft, and that relating to the notion of the pixel. And the zeroes and ones in programming computing relating to Jacquard loom weaving. So that’s a whole other avenue in itself. There’s an interest in pixels throughout the ages, that being one of the main relations to my own interest with fabrics being past in the present so it stems a lot from this notion of weaving, I’ve been using a hand loom and have made some really artificially coloured hangings which aim to look at the digital realm again through the traditional process. Also been using a digital jacquard loom to make some black and white woven cloth and these are based on a print from the Kelmscott Chaucer printed book that was made from Morris. It was the last project before he died it was published in 1896 when he died. This is a fascinating book, I remember looking at as a child. Impossible to read but really, I loved this complexity, density of line in the Kelmscott Chaucer, in Morris’ work, it’s the borders, those are designed and made by Morris, and the illustrations were done by Edward Bure-Jones, so the borders framed the illustrations which narrate the story, then the illuminations, again done by Morris, so the large letters at the beginning of the work, the prose, and they were printed by someone else (not by him). This density of line and pattern, Im just fasciated by. That just shaped my own love for the jarring of many different images pattern text etc. so I’ve been specifically choosing fragments from the Kelmscott Chaucer, obviously I’ve been looking at a reproduction of my own copy of it, so it’s a woven reproduction of a reproduction of a print. And again this meta process really interests me. I’ve chosen fragments of drapery, so I’ve woven something that would have been woven, I’ve also chosen images where the hand is present and the hand is really pertinent to the research. There’s a part of the research that looks at what were doing with our hands now, and I’m referring to the book Hands what we do with them and why and its by Darian Leader and I found this really interesting, he talks about where we are now with this device that became the extension of our hand. And this notion of swiping and scrolling and zooming in and tapping and what’s happened to the repertoire of our hand gesture what happen to making and what about what’s going to happen to making in the future. I find this really interesting this inheritance that I had, of needlework, not to say I’ve inherited any good skills cause I basically just shunned it and wanted to do painting, but I learnt them now to some extent. But Im really interested in that, whether these skills become lost. Which they undoubtedly will. Again this is really interesting this contradiction here, becoming lost, right now people stuck at home are wanting to learn this instrument I haven’t played for ages or learning to make bread or whatever it may be, or do art or learn weaving sewing embroidery etc. so we find ourselves back in a slower pace, and this interest in weaving, certainly in the weaving class that I go to, seems to be really popular. I wonder why this happens again in a time of technological change when we’ve got AI, also a fear of the technology we’ve created, and a longing for the past. So that’s the thinking behind the weaving, I think I’ve covered a lot of the things.
So 3D scanning, I’m rewinding a bit now, going back to the notion of folding, 3D scanning becoming one of the really interesting things I’ve been 3D scanning my mums old tablecloths and embroideries. In order the 3D scan you need an object to go around. I’d heap together these fabrics, these mounds, and start scanning them round. And I’m more interested in subverting the function of the 3D scanner, rather than wanting to print out an object which is the whole point of the 3D scanner, I’m more interested in the flat image again. What this programme I was using had produced with the data I’ve sent in/input, with these new networks that you’ll see seeping into a lot of the work now, like odd new grids in a way they’re like rhizome sort of structures, there\s not beginning no end, the break and rupture as a rhizome would. So these images of the folds of the fabric, are the point clouds, or wire mesh images, and I’ve been screen printing those onto the paintings/hangings/fabrics, and those have been stitched back, again providing a new path or structure for me to work to and that is based on the fold of an antique cloth so I think there’s a new way of looking at antique fabric that I just wouldn’t have known to, just kind of came across it and it’s now really become part of the work and its this sort of entanglement going on with the threads as well which is a reflection of the research which has been incredibly tangled, and knotted, and that’s going on in the paintings, so I feel like it’s all starting to very much talking to each other, all the different aspects, and I think that’s where I’m going to leave it. I hope that’s been helpful. If I can send on any further reference to things I’ve spoken about, other writers and philosophers I might have just whizzed by, feel free to get in touch.
-ongoing series, started with these calendar pages (Morris calendar) folding, scrunching them up and working with photoshop. Layers, digital prints of Morris calendars.
-Love bernini. Sculptural works, michelangelo. Wiped through on photoshop. Erasing through. Erasing and building up, fragmenting though process.
-Provides ground on which I really like to work, in something that doesn’t talk about the outside world and yet it is so versatile. It just is a space.
-The grid is repetitive motif, repetition in itself, relate to notion/process of weaving. Comes into woven fabrics that I refer to.
-References to crochet, there are these screenprinted fragments there, from my mum’s tablecloth, from Cyprus
-so this reading, the wire mesh of the folds of the antique fabrics that I’ve been scanning. That would be turned into information that would create the 3D print, but rather than make an object, I’m much more interested in flatness, flattening images out. Comes from the screen, and book and the printed image.
-these network structures have become a new way of looking the antique fabrics, new way of looking at the past, also new way of looking, stitch back into the work, felt like I wanted to stitch over these lines, felt they could also be threads. Sewing machine and also embroidery by hand.
-these fragments of medieval illustrations from the Kelmscott Chaucer, and little bits of drapery.
-these network structures have become a new way of looking the antique fabrics, new way of looking at the past, also new way of looking, stitch back into the work, felt like I wanted to stitch over these lines, felt they could also be threads. Sewing machine and also embroidery by hand.
-Also these snippets of nature that come from gerard ___, another book that Morris was really interested in, my own archive of these, diagrams and infographics, and how-to, identifying different species, taxonomies
-there’s lots of books that I collect that relate to this, really because of my interest in print. Always being copyright free, dover publications hence a lot of reference to ornament, this motif that’s ornamental
-also counter position to the grid. A lot of opposites going on, order, disorder, art and craft, what’s more interesting to me is bringing those paradoxes together, to break down those hierarchies. a way of looking at the world now which is, blurred boundaries. That’s what my practice is doing, blurring and converging of media and temporalities. Always using digital, analogue processes.
-these works here ( a bit creased, had them folded), newest calendar prints, the references to historical, ancient sculptures, interested in the fold, how things are made, folding in the actual calendar themselves, folding, scrunching those only the hand really does, using the digital realm to represent those hand gestures.
-Photographically. Thinking about breaking down the image, quality of image as well, doing by scanning old books, don’t usually have great reproductions of image, e.g. Bernini sculpture here was scanned in, the black and white image from sixties quite poor and by enlarging it the image already becomes worse. That essay by hito steyerl in defence of the poor image, looking at reproduction/sharing of images online and on phones that I find really interesting, looking at reproduction of Morris.
-and this notion of something being both in focus and out of focus, neither absent nor entirely present. The reverse and front, the pattern and dates, the information, this tension between opposites going on that I set up.
-these networks, wire-mesh readings of folds, start talking about themselves again printed onto fabric again, repetition of that idea going on. So these continue as a series, sometimes stretched and painted on, other times left. There is this craft processes, repetition in making. the unfinished, pinned on for now. Ways of thinking about, fragmenting disrupting the image.
-One of the things I started collecting is unfinished tapestries, partly because my mum had left some tapestries un finished, started using this inserting of ideas, buying eBay unfinished tapestries oddly quite a few I found. New part of collection. Became interested why these are unfinished. Let to this idea of looking to the past, time unfinished as well. element of contingency.
-One of the things I started collecting is unfinished tapestries, partly because my mum had left some tapestries un finished, started using this inserting of ideas, buying eBay unfinished tapestries oddly quite a few I found. New part of collection. Became interested why these are unfinished. Let to this idea of looking to the past, time unfinished as well. element of contingency.
-in these works, these fabric assemblages, I’ve been using screen prints / digital that I’ve been collecting, these ruins, usually from natural disasters, aftermath. They’re pixellated in photoshop first. interested in the ruin as a metaphor for where we’re at. Also for painting, process of making. Things breaking down. So used these images in these pieces to try and bring these ideas together and photographic element into the work as well.
- And the assembling of things, edges of things, how they are assembled together. How edges come together. Variety of methods of leaving edges, sometimes fraying. Salvage on places, might be cut by shears, sometimes folded stitched, create much tighter edge.
- And the assembling of things, edges of things, how they are assembled together. How edges come together. Variety of methods of leaving edges, sometimes fraying. Salvage on places, might be cut by shears, sometimes folded stitched, create much tighter edge.
-found these serendipitous moments in how things are aligned, sometimes it doesn’t always, not whole image, just some areas. Bring them together, tonal lines, where one line works into the next. Provide structure of the piece and its composition.
-idea of different realities unfolding one onto another, different times. So that was the thinking behind things are converged in these assemblages.
-so this is a 3D mesh(middle) of tassels (on the left), so this is the texture. The tassels were crimson, can see snippets of them. What happens is the programme when it flattens out the image, is a bit confused by, starts to add in, these little pockets/mosaics of colour, which fragments the image, so you can see this sheen satin-y tassels. and these rhizome like wire mesh, been screen printed onto this digital print. These are the same, talking about the tassels, this is provided for me where I want to start stitching (over the crimson), this is the screen print fragment of crochet from my mums tablecloth (top)
-been using __ which is used for tapestries or needle work, bringing in another mateiral that talks about the craft process. Reference to printing, ink test, really like that, reminder of notion in print.
-so that process works throughout these assemblages. This is a digital print of one of the eBay tapestries I collected, quite often they’re landscapes, really thinking about this contradiction in ruined landscape and implications of things right now, ecologically, and this very dystopian ideas, next to this, conserved with this ruined landscape.
-idea of different realities unfolding one onto another, different times. So that was the thinking behind things are converged in these assemblages.
-so this is a 3D mesh(middle) of tassels (on the left), so this is the texture. The tassels were crimson, can see snippets of them. What happens is the programme when it flattens out the image, is a bit confused by, starts to add in, these little pockets/mosaics of colour, which fragments the image, so you can see this sheen satin-y tassels. and these rhizome like wire mesh, been screen printed onto this digital print. These are the same, talking about the tassels, this is provided for me where I want to start stitching (over the crimson), this is the screen print fragment of crochet from my mums tablecloth (top)
-been using __ which is used for tapestries or needle work, bringing in another mateiral that talks about the craft process. Reference to printing, ink test, really like that, reminder of notion in print.
-so that process works throughout these assemblages. This is a digital print of one of the eBay tapestries I collected, quite often they’re landscapes, really thinking about this contradiction in ruined landscape and implications of things right now, ecologically, and this very dystopian ideas, next to this, conserved with this ruined landscape.
-What I wanted to do with these is make, something that spoke to the artificiality of screens, so I’ve gone for colours which I found really quite garish, absolutely opposite of Morris. Choosing colours, found, didn’t really like them at all, even more reason to use them, big woven cloth using them. Variations of the same pattern, wanted to look at something artificial / screen, through traditional process.
-what I’ve been doing recently is bringing together all of the works and seeing how they sit together, not necessarily like this space, but how tapestry and weaving sit against painting and print.
-there were these other pieces here, on jute (fiber, coarse threads) so screen prints on jute of crochet / tablecloths and stitched back into and using grids from meshes, paint through, tie things back together again with the grid, made in residency a few years ago alongside large hangings.
some images of work from her website that I really like (the titles as well) :
