For the final assignment for this course, we are invited to:
work to create a capsule collection of at least six samples. Try not to treat these as ‘final’ in any way; rather, think of them as an opportunity to improve upon your experimental samples, perhaps refining and working towards perfecting techniques and finishes, and extending them into a bigger sample size.
Here I tried to develop the pieces I had already worked on a little more, enlarging the size of the samples, in some cases reusing pieces from earlier stages of this part of the course, in other cases combining processes and techniques I had used earlier, in order to produce new work.
I found that I needed to group the work I had done so far into the themes of the different motifs that I was using for inspiration in order to see connections and be able to take them forward in a different way:
In this way I looked again at some of the arcs, the collage and the batik work I had done, to see if there was a way of combining these to make something new:
Initially I thought this would just be a background upon which I would stitch, but I found that I liked the 'unfinished' version, with batik wax still in place and paint lying over the wax, which effectively evoke a tumultuous watery scene, which reminded me of the hem of the original silk robe:
I stretched the cotton fabric using an embroidery hoop in order to paint on the soya wax, following by diluted Brusho paints, then I sprinkled some dry Brusho over the top, having experimented with this earlier:
I also isolated some of the spirals and related work to see how I could develop these ideas further:
This drawing in particular made me think more three-dimensionally about the spirals:
In order to create the required bulk to create the raised spirals, I reused the green dyed muslin that didn't really fit in with my chosen colour palette, but under a layer of undyed muslin would add a sutle colour difference:
I free-machine-stitched a series of linked spirals in turquoise, dark blue, yellow and rust thread, in a border around the edge of the fabric, perhaps unconsciously echoing the border decoration of the original garment.
I was anxious to reuse and further develop some of my pieces from earlier in the module, so as not to waste them and use more fabric than I needed to. Here I used the navy linen that I had printed with decolourant, dyed my thread with the remaining sepia ink and blue Brusho paint, and introduced the arrows that I had earlier observed in some stitching on paper:
Here I took my wave-inspired work and interpreted it using the textured ribbon as yarn to create 3D waves, arranging them and machine stitching to attach to sepia-stained cotton fabric:
Here I took some of the wave-inspired work and combined the decolouring idea with machine stitch very much inspired by my research into Inga Liksaite:
I tried to combine the linear strokes reminiscent of Liksaite's work with the accidental blobs and spills that I observed in my own. For this piece I also decided to machine stitch agains the flow of the colour, as opposed to with it:
I also wanted to develop the 'crest of the wave' motif further and explore what could be done with longer lengths of wire:
I attempted to create a fabric with this wire, by repeating the crest shape and twisting to link them:
I like the malleable nature of this fabric, that can be stretched and formed into different shapes.
My 'final' capsule collection of samples:
I think that there are elements that link the collection - colour palette, materials, repetition of motifs in different scales and dimensions - but yet each is different and can stand alone.