26th Nov Print artists research

Hosoi Chika - Machine embroidery 2002 : The simplicity of the white gives the viewer a chance to appreciate the interesting fine and delicate textile, it looks like some textile experimentation I did last year with thread and glue, although it looks as if it is in the middle of a loom, which is interesting as I don't think you would weave something like that from a loom. It makes me think about distortion.

V&A archive

https://collections.vam.ac.uk/search/?q=Hosoi%2c%20Chika

Norma Starszakowna - Diasporas - Hanging 2005 & Graffiti Shutters, Lochee : I think that both these textiles from then same artist relate to my object heavily because of the color, and textile more specifically in the Graffiti Shutters, Lochee, it gives a sense of rust and sharpness.

I think that in Disporas the print is very simple, but the use of red and linear lines gives it strength and gives it a complete feel. I also think that the area above the red, the grey is a very nice color, and gives the print a sense of elegance.

I am going to take inspiration from this artist to transfer my 3d textiles to 2d.

V&A archives

https://collections.vam.ac.uk/search/?q=Starszakowna%2c%20Norma

Fit Contemporary online

https://www.fcac.co.uk/artist/norma-starszakowna/

Michele Walker - Memoriam Quilt Study 2002 : I was attracted to the mix of print and textured textile as it gave the print a very fragile feeling, I also like the color palate, the mix if greys and white works very well, it conveys a dark and clouded mood.

V&A archive

https://collections.vam.ac.uk/item/O1176944/memoriam-quilt-study-walker-michele

Benjamin Grund - Wasted Waste, csm graduate :

Ben's work is very relevant ( first image to the left) to the project because of the use of sustainability, I am also very arrested to his work, I would like to see it on the body.

"Ben’s project ‘Wasted Waste’ utilises landfill-headed textile scraps to generate novel textiles through experimental methods of printmaking and fabric fusing. Researching current neo-colonial waste streams from Europe to Africa and Asia catalysed his regenerative textile graduate project. Concerningly, most European nations dump their waste abroad in former colonies due to cheap labour, low general costs, and pervasive single-use item attitudes.

The project’s theme of revitalising trash into desirable materials aims to encourage a cognitive societal perspective shift towards circularity, waste ownership, to dismantle disdain towards waste resources, and to re-route neo-colonial textile waste streams.

Textile-upholstered lamps depict LGBTQIA+ activists being apprehended at pride rallies, foregrounding both environmental and human maltreatments. Ben calls these sculptural lamps ‘Beacons of Hope’. Wasted Waste is Ben's expression of hope that both humans respecting our environments and humans respecting one another is possible, essential, and beautiful once achieved."

"All my design projects integrate either sustainable or regenerative supply chains, outcomes, or social and climate-related messages. I believe objects as products of design vector human lives daily, and as such design must be conscientious of our current climate and biodiversity crises, social injustices and inequalities, and history. Craft has the ability to educate and catalyse inclusiveness and create a better functioning, happier society. Regenerative design should uplift all of society’s members; a value I place centrally in my approach to my work."

UAL showcase

https://graduateshowcase.arts.ac.uk/project/213500/cover

Isabella Smith - A dream of transformation (csm fashion with print graduate):

"Once the epicentre of 1920’s hedonism, the Hotel Provence in the south of France now stands abandoned, an echoing empty shell. It was this image of the veneer of glamour being stripped back and its beauty ripped bare that made me want to explore the distortion of glamour and question how relevant it is today.

This collection forms a dialogue between our garments and ourselves, how they act both as a ‘projection of the self’ and a ‘protective shell’. Influenced by the images of Cecil Beaton’s glittering portraits of the Bright Young Things in the 1920s, I merged these with those of John Chamberlain’s gleaming metal sculptures made from used car parts to contrast traditional shine surfaces such as silks and satins with more industrial gleaming surfaces. This helped me create the idea of a garment or person being encased, almost as if they had merged with the glistening cellophane background of a photograph, forming a tension between hard and shell-like surfaces.

This inspired me to work with metal, seeking to echo the forms of rich folds of fabric and explore how it relates to the body whilst taking the car as an iconic symbol of glamour and warping it. I combined this with glittering broken resin to create the illusion of figures emerging from a twisting metal shell, as in JG Ballard’s ‘Crash’, where he describes one of the protagonists as ‘sat in the damaged car like a deity occupying a shrine…reborn within the breaking contours of her crushed sports car."

UAL Showcase

https://graduateshowcase.arts.ac.uk/project/222243/cover#summary-section

Research This page is part of the collection 'Part 2'.

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