Assignment 3: Reveal and Conceal

Material Led Approach:

Following on my research, I have made a PinBoard with inspirational examples of 'reveal and conceal concept in textiles by artists, textile designers, and fellow students.

https://uk.pinterest.com/saadetpayne/reveal-and-conceal-textiles/

This project focuses on material and how the material responds to the process and what visual outcomes follows. Using light as the main element, we are experimenting with various materials and observing, and learning from the visual outcome. This sounded to me like an open invitation to play.

There are several workshops suggested in the workbook. My approach is to try, record and respond. Can I generate further ideas? Therefore I am going to explain my trials with each piece I have produced.

Knitted structures:

Investigating light within textiles, I am drawn to choose yarns, and fabric with light-reflecting properties. I need to create gaps, spaces between stitches, to let light through. To achieve that, I used thicker knitting needles with thinner yarns with reflective properties. The sample is very soft, and structure is very stretchy, can be pulled to produce non-uniform shapes. My reaction was to stretch and pin it to another surface. This exaggerates the gaps in stiches and creates organic but disorganized gaps.

S Payne - Knitted Net Sample 1

Next sample I tried to use a combination colourful yarn of contrasting properties soft vs. hard, wool vs. paper yarn, thick vs. thin. I also used different stitches to create space between rows. I ended up with a deformed rectangule. The paper yarn stitches created beautiful gaps, and light shone through produced lovely shadows.

S Payne - Knitted Net Sample 2

For next sample I am tuning the colour down and knitting with thin grey wires and stretch film. I used ordinary stretched film, making it into a yarn. The wire stitches are firm but there is still movement in them. The stitches doesn’t fall even which creates spontaneous shapes. Knitting with stretch film is an absolute nightmare because it constantly sticks to the needle making it hard work. But I very much liked the opaque white sheen of the stitches. It is more rigid then the wire.

S Payne- Knitted Net Sample 3

Woven structures:

I am keeping my black and white theme for my first weave example. Keeping it simple to observe effects of light without the help of colour. I might have gone a bit crazy with the variety of materials I used: steel wool, paperclips, shiny crochet yarn, wool, pieces of fabric, net curtains and packaging material. I used fishing line as wrap. All is good fun. Fishing line is slippery and weft doesn’t sit securely. It is a loose structure. Contrast with wool is great. Creating baffling texture, soft wool with sharp metal bits. Steel wool is dominant catching light and drawing your eye to it.

S Payne- Woven Sample 1

Next sample is all about colour. I am using silk, plastic, and wire, sewing thread, coloured acetate sheets. Transparent coloured materials will change the light, its intensity and its colour. Like a photography filter you put in front of your lens. Acetate sheets are not flexible unlike plastic wrapping sheets. Plastic sheets created lovely folds once pressed during weaving. Silk thread picks up shine and I dare to say change colour very subtly sandwiched between plastic sheets. This sample gave me the best photo shot with light source was behind.

S Payne- Woven Sample 2

S Payne- Woven Sample 2 detail

Using Laminator:

Laminating is kind of addictive! The process heats and squashes the material and reveals further properties. I have trapped feathers, paper, nets, tread, yarn, etc.

One of my favorite samples is the one with the paper thread. The thread is delicate but strong and flexible enough to knit or stich with. I use it for crouching usually. Laminating exaggerated its structure. Made it flat and wider. I wanted to capture its texture more and decided to photocopy it. I played with its scale and decided to make a collage, hoping that this collage can be developed into a print. I think this is a good example of the benefits of material led approach. This very investigative approach drives ideas without over thinking. It is a “doing” approach, not “thinking” approach. Having said that, not all ideas sparked had been good. I managed to waste quite a bit of time.

S Payne- Laminated Sample 1

S Payne- Collage made from Laminated Sample 1

My second best sample is inspired by Bauhaus. Bauhaus is a well known movement, which doesn’t require much introduction from me. I always loved the work of Moholy-Nagy, especially his photograms and light sculptures, playing with light, creating forms with shadows. Bauhaus defines modernity, as we know today. Very simple shapes, beautifully designed functional spaces, no compromise on artistic spirit in everyday objects. They believed they could design a brand new world, in which good design and artistic vision joined in harmony. Technology (and in it photography) is a big part of this world. Their aesthetics consists of simple but geometric forms.

But simplicity is difficult to achieve. The sample I made look painfully simple too. But it is very difficult to find the balance. You can't juxtapose any colour or shape and expect it to work. Producing this sample, I patiently tried many combinations, and in the end I had to roughly sketch one before I finalized it. I must say I am pleased with the result. It is subtle but effective and laminating kept its transparency.

S Payne Laminated Sample 2 - Bauhaus Inspired

References:

My PinBoard: https://uk.pinterest.com/saadetpayne/reveal-and-conceal-textiles/

http://www.tate.org.uk/learn/online-resources/glossary/b/bauhaus

Borchart-Hume, 2006, Alberts and Moholy-Nagy from the Bauhaus to a New World, Tate Publishing.

Batik Technique

This is extra curriculum nonetheless I attended a batik workshop with textile teachers Emma Hobbs and Norma Kennedy in June 2016 and I wanted to include the pieces I produced. We used the technique on paper and fabric (cotton voile). Using wax as a resist we worked with layers building shapes and colors gradually. I think this way of working is a great example for reveal and conceal concept. The technique is controllable but open-ended. You work with latent layers, some reveal unexpected results. It is great way to produce patterns. The teachers also showed us to collage patterns to create further patterns. The organic nature of the patterns is flexible and can be developed further with collage and stich. I also loved to work with semi transparent fabric. The colors come alive when light is shone through them. Here are some of my samples.

S Payne- Batik on Paper Sample 1

S Payne- Batik on Paper Sample 2

S Payne- Batik on Cotton Viole Sample1

S Payne- Batik on Cotton Voile Sample- Freehand drawing

Manipulating Techniques:

For these samples I used heating, machine and hand stitching, and soldering iron. For heat manipulation, I used synthetic materials, and fabric. With heat gun, it is possible to concentrate heat on certain areas, which can create a pattern. I tried to do it with my orange plastic wrap. I then photocopied the sample, which emphasised light and dark areas. I worked with silk, organza, netting curtains, all of which produce patterns and marks on the material. The more heat applied, the stiffer/harder the material becomes and more disintegration occurs. I made some small samples with soldering iron, however, my soldering iron broke with the first use. I like the cotton and silk sample the best, as they have burnt marks on them.

I did also manipulate bubble wrap with heat and linear lines appeared within the circular structure of the material. I applied acrylic paint to emphasize these lines. This inspired me to stich it. I hand stitched a second sample with subtle colors. Because the material is already transparent, the back shows and stich doesn’t sit on the surface it wraps the form. I really liked this effect. Bauhaus inspiration is obvious here.