REFLECTION

Textile investigations by Rachael Nila Whittaker

Exhibition

The exhibition is now up. I made a few tweaks to my table setup today and managed to get my microscope working as part of the interactive elements of the work. I placed a piece of cut porcelain in a slide to display that beyond the obvious cut pattern, upon a closer inspection, the method of cutting has left scorch marks on the surface, invisible to the naked eye. I’m really pleased with the display of my fabrics whereby the stitch and cut marks appear to spill out of a tipped over beaker, and managed to work in my boxed samples reflecting pinned specimens and my repeat pattern cut work. It was important to have a range of ideas on display and I think I have managed to show this. I also included movable magnifying apparatus for viewers to use to explore the work.

Laying out the exhibition today  on my new tables. The room isn’t as dark as it appears in the photographs, the light box simply interferes with my camera and distorts the colours, but this still gives an idea of concepts I have tried today. The addition of lighting allowed me to play with more of my cut work sampling but we have tried to keep the layout uncluttered and simple. There is still a little work to do but I think I am closer to the look I wanted to create.

After deciding the furniture I was working with wasn’t right for me, I looked into some alternatives thinking I may be able to work with a collection plinths if I couldn’t source a new table. Perhaps having small arrangements of work with suspended magnifying glasses above. This was the first table I had the potential to use though it was covered in red ink splodges. I cleaned some of the stains but the red was still visible and I felt it affected the colour of my work. I also considered some of the workshop tables but they were too narrow or again colours that didn’t compliment the work. I finally played with a light box and thought this was a good way to combine my cut work with textile pieces. It could highlight the layering I have played with in my filming without feeling like I had selected pieces of work at random with no coherence. I should have these light boxes in my space tomorrow and will try to do a new and more successful set up. It should display a range of techniques as my practice is really about exploring lots of different avenues and with my original layout practices, I only used the cut porcelain work, which I like, but perhaps this was too much of one thing and didn’t really say what I do as a designer. It should also give space to the work and not feel overly cluttered, though I now have a much larger table space to play with and will need to consider carefully which pieces I select, a good test of curating skills. More images to follow.

More layout ideas from the exhibition set up. I really had trouble with the table I had managed to source and felt it was not appropriate for my work. Unable to purchase anything suitable, I looked around the studio and buildings for alternatives while also trying to consider ways of incorporating my cut work. Here we rolled some of the paper samples and held them with metal tongues. I quite liked the idea of suspending pieces of fabric in this way, as though being held and inspected, but at a distance, removing the tactile experience with this artificial apparatus. I had considered the extension of vision through magnification but never before the idea of removing touch in this particular way, only blocking this much like in a museum display with perspex cases, forcing the viewer to observe pices visually with the frustration of blocking the desire to touch. I found this aspect of displaying textiles quite interesting. Textiles by nature call to be handled, so what can you take away from a piece that may only be observed? I always found this very difficult when working in the costume gallery on placement. I was sometimes lucky enough to handle garments and care for them but the beautiful embroidery and fabrics concealed behind glass was a real temptation and I found it terribly frustrating not being able to understand the pieces close-up. The delicacy of some of  my pieces requires this distance between the viewer but it is interesting to explore and exploit the feelings involved in creating such a barrier. 

Playing around with layouts on the first day of setting up our exhibition. I have a wide range of sampling and somehow need to show this cohesively within my space. We came up with some interesting ideas yesterday to demonstrate the scientific undercurrent in the work through displaying pieces with visual apparatus such as the microscope and magnifying lenses. We considered the idea of having specimen jars and petri dishes to demonstrate my observation of organic samples and bunsen burners to link with the the burnt porcelain and fabrics but perhaps it is not necessary to be quite so literal. Today we are going to hang the magnifying lenses above the work to encourage viewers to explore the work up close. People probably wouldn’t pick up a magnifying glass themselves so we will provide an angle and a viewpoint to explore in detail, highlighting the delicacy of the work as well as the origins of inspiration which is now distorted in the sampling through elements of abstraction and chance. This is also an interesting juxtaposition between the organic sampling and the sterile appearance of the scientific set up.

sampletwelve:

Photos from the first day of setting up the Sample 12 degree show.

I have done a lot of work playing with lighting alongside my cut work and loved the use of light and shadow within this display set up.

Blown Glass Sculptures by Dale Chihuly

Artwork © 2011 by Chihuly Studio, All rights reserved.
Photograph © Museum of Fine Arts, Boston.

(via myampgoesto11)

A further example of a small scale scientific display. Here the work is actually a recreated specimen to be viewed and kept as such by the buyer. I wish only to hint at the origin of the work by using a similar approach to display but the images here give an idea of how this could be done.

The magnifying glass is an interesting piece I want to include. I originally thought I could have a selection available for viewers to pick up and use, but now I am rethinking whether anyone would actually interact with the work in this way. Instead it may be more successful to set up this viewing apparatus at a particular view point, perhaps suspending them from the ceiling and therefore the viewer may noticed a close up detail as they pass and stop to take a closer look. As I have observed from working in a gallery and museum, on the whole people spend a tiny amount of time looking at work and reading statements. They may even just chose a few pieces that catch their eye and pass others. I therefore think it wise to make the viewing experience intriguing, but keep interactive elements simple so I don’t alienate any viewers. I could play upon the fact that most people will not use the magnification to explore the work, but I feel for the degree show I want to engage with as many people as possible.

very-good-things:

Hine Mizushima - The Unnatural History Museum

I also considered the possibility of presenting my work in relation to old text books, this piece by Casey Curran is a lovely example and has the interactive element to it that engages the viewer and asks them to get involved with the work. I have considered this also by including viewing apparatus in the display. The Bird and the Bees by Casey Curran Art which moves: wood, wire, books, rope.

I also considered the possibility of presenting my work in relation to old text books, this piece by Casey Curran is a lovely example and has the interactive element to it that engages the viewer and asks them to get involved with the work. I have considered this also by including viewing apparatus in the display.

The Bird and the Bees by Casey Curran

Art which moves: wood, wire, books, rope.

(via fuckyeahbookarts)

Possible display method? Depending on the type of equipment I am able to borrow I may be able to create a mock-up of a work area like the image, treating my textiles like specimens being researched and explored.

Possible display method? Depending on the type of equipment I am able to borrow I may be able to create a mock-up of a work area like the image, treating my textiles like specimens being researched and explored.

(Source: cosmic-dust, via theherbarium)

This post shows another concept I have played with for displaying my work. I did a lot of cut work and have experimented with layering these, shown in previous film clips. I have now presented several of these pieces on plastic to allow them to be layered by the handler but really wanted to create a kind of light box where I could present each piece as a slide and possibly light it from behind, much like a light box. Unfortunately I couldn’t find anyone to help bring this idea to fruition so I looked to other ideas.


Artist Xia Xiaowan - 3D paintings on glass.

Xia Xiaowan has been preoccupied for years with the problem of representing three dimensions on a flat surface. For him, the Western solution—with lines of perspective converging on a vanishing point—is powerful but inadequate. After much experimenting, he decided to approach the question from the opposite direction and build flat images into a three-dimensional one. He divides a picture into layers, draws each section in coloured pencil on a sheet of tinted glass, then stacks the sheets one in front of the other.

[Via galerieursmeilewhiterabbitcollection]

(Source: devidsketchbook, via fuckyeahartandscience)

Further examples of scientific display methods. I have tried to source glass apparatus to practice display methods with but have been unable to do so on budget. I am instead working with a science department and will have to experiment with the equipment available. The work here by Mika Aoki shows some beautiful examples of working with this type of apparatus.

staceythinx:

Japanese artist Mika Aoki uses the ethereal quality of glass to get us to look differently at subjects like viruses, reproduction and the origins of life.

(via fuckyeahartandscience)

I began to think about display methods several weeks ago. I often stitch my pieces to boards but felt I wanted to try something a bit different to get across the idea of exploring with the natural world up close through a scientific perspective. I had completed a few hand burnt drawings of insects and experimented with presenting them in a box much like the example here and felt this could be a good way to present my textiles work. The abstract interpretations no longer obviously reflect the original inspiration, but through using this method of display it links with the origin and feel of the work. I have recently managed to acquite some perspex boxes and will use these to cover and protect the work. The delicate nature of the work requires this type of display but also provides a frustrating observatory experience. Textiles are by nature, tactile and meant to be handled and experienced, here they may only be viewed through a protective barrier but will be presenting alongside magnifying apparatus to allow the viewer to explore each piece in visual detail. immaxdarling: ‘Leaf insects’, Phasmida, walking sticks

I began to think about display methods several weeks ago. I often stitch my pieces to boards but felt I wanted to try something a bit different to get across the idea of exploring with the natural world up close through a scientific perspective. I had completed a few hand burnt drawings of insects and experimented with presenting them in a box much like the example here and felt this could be a good way to present my textiles work. The abstract interpretations no longer obviously reflect the original inspiration, but through using this method of display it links with the origin and feel of the work. I have recently managed to acquite some perspex boxes and will use these to cover and protect the work. The delicate nature of the work requires this type of display but also provides a frustrating observatory experience. Textiles are by nature, tactile and meant to be handled and experienced, here they may only be viewed through a protective barrier but will be presenting alongside magnifying apparatus to allow the viewer to explore each piece in visual detail.

immaxdarling:

‘Leaf insects’, Phasmida, walking sticks

(Source: tonguedepressors, via fuckyeahartandscience)

Timorous Beasties

Here is a link to an interview with Timorous Beasties. Their website can be found at http://www.timorousbeasties.com/about

One of their strengths is the ability to provide a bespoke service from custom colours to original artwork. All design work takes place at their Glasgow Studio, where they continue to hand-print many of their fabrics and wallpapers. In addition, their experimental approach and their investment in new design and manufacturing techniques have allowed them to move into other product areas including lace, jacquards, lighting, rugs and ceramics. Their work can be viewed in both residential and commercial settings and they often undertake projects out with their normal parameters. This is evident in their engraved stone cladding for Cabot Circus Shopping Centre in Bristol, granite over slabs for the Burns Museum in Ayr, bespoke gravestones and an aluminium installation on the exterior of Princes Square Shopping Centre in Glasgow.

As they have grown as a company, they have expanded into new areas and opened a store, but started quite simple as a design duo creating experimental pieces. The bespoke options and wide range of techniques/materials are provides a business and context that I could possibly look to contend with in the market place. The pricing of our work is similar, offers handmade produce and is used within a range of display settings both residential and commercial settings. Not all my work may be seen as suitable for the interior market, but this is a good example of a bespoke company embracing a variety of techniques and clients, and continuing to grow as a successful business without causing confusion as to what they can offer.

This short film discusses the issues of sustainability in design and collects different view points on the issue. Sustainability is quite a wide topic and covers a multitude of areas. For me this term, I have considered the sustainability of my working practice, not primarily in relation to materials and the environment, but concerning the techniques I use and how realistic it is to work in a similar way upon graduation. In other words, can I design a method of working that I can continue to use in the future.

I have also considered aspects of the materials I am using although for this project it has not been a driving force. In my placement year I worked with a designer who creates installations from recycled goods and I created a window display using promotional paper waste from local businesses. I spent a lot of time sourcing things to use and the process was very much lead by whatever materials we could acquire. No plans were made until we had the components. This term I have build on my original project so felt, in order to honestly continue its development, I had to respond to imagery and source materials accordingly. (As I previously discussed, I chose to work with my original  project concept/inspiration but instead of working towards the context of costume, I used this to develop and explore new areas of a working practice, the result being a wide collection of textile and mixed-media concepts that could be applied to many different contexts.) I have mainly worked with natural materials such as paper, silk and cotton, and when investigating working with porcelain I chose to mix the paste without chemicals and use natural preservatives so any waste can completely biodegrade without any damage to the environment. I did then work with some perspex off cuts and really liked the look of the material as a contrast in my work. I was wary of the use of plastics but tried  to at least act responsible with them and any waste through the laser cut process has been reused in other samples e.g where I have done a cut through designs, I have saved all the cut put pieces, drilled them and applied them to different embroidery sampling. I would like to be build on my knowledge of sustainable practice as I develop and will look into this more in the future but for the moment I am designing somewhere in the middle, I am not lead by a desire to be sustainable but where I have come across an option to do something in a more responsible way, such as my porcelain mix, I have tried to do so, and hope to implement this thinking more as my work develops.