Article about the artist and photographer Carolyn Drake whose project Internat engaged her with a group of young girls who had been isolated in a Ukriane orphanage.
Brigitte makes quilts, collages, sculptures in order that she make comments and tell stories about people and the world – often as critiques of political and social choices.
Earth stories: Copper / Erdgeschichten: Kupfer
2016, textilcollage, h 162 x w 159 cm
1st prize The Gala of the Unexpected at the National Quilt Museum
Stratifications / Schichtungen
2014, textilcollage, h 120 x w 210 cm
The Clock is Ticking / Die Uhr Tickt,
2016, textilcollage, h 181 x w 108 cm
Soft Overcome / Sanfte Gewalt 2015, textile collage,204 x 196 x 4 cm
Amy Twigger Holroyd is interested in sustainable knitwear, amateur activities that happen in the home such as repairing and actively seeks out ways to support amateur and small scale activities.
Like me she is keen to understand PEOPLES LIVED EXPERIENCE of these activities. will read her PhD Thesis which is about Amateur Fashion Making. I appreciate her methods of articulating this work and the distinct vehicles she is using to do this i.e. design-led, knitted garments.
She has a book coming out in 2017, called Folk Fashion it seems like it will be worth reading:
‘In Folk Fashion: Understanding Homemade Clothes, Amy Twigger Holroyd explores the vibrant world of amateur creativity and unpicks the contemporary experience of making and mending clothes for ourselves to wear.
A dynamic resurgence in sewing and knitting has emerged in the last decade, supported by the connective power of the internet. Today, many people are making and mending their own garments at home, and deriving great pleasure from this creative process. However, making clothes is not a consistently positive experience: conversations with makers reveal many stories of homemade garments languishing at the back of the wardrobe. Twigger Holroyd draws on theories of fashion, culture and craft to help makers understand their mixed experiences of wearing homemade clothes in a society dominated by shop-bought garments.
Many folk fashion makers are motivated by concerns about the environmental and social impacts of mass-produced clothing, and see that creating their own clothes can lead to a slower and more satisfying experience of fashion. However, the relationship between amateur making and sustainability is more complex than it may first appear. Using an unexpected metaphor of fashion as common land and incorporating a focus on individual well-being, the book critically examines the potential contribution of domestic activity to a sustainable fashion system.
Taking an inclusive approach, Folk Fashion looks at the making and remaking of both individual garments and the wardrobe as a whole. Twigger Holroyd combines her own experience as a designer and knitter with first-hand accounts from a diverse range of folk fashion makers to provide an array of perspectives on this fascinating, yet under-examined, area of contemporary fashion culture. Examining both mainstream and emerging practices, she not only develops an understanding of what is happening now, but also suggests ways that folk fashion might continue to flourish, diversify and evolve in the future.’
Painter whose sole intention is to get more images of black people in galleries. To do this he realised that he needed to be a good painter so he becomes better at painting by copying the styles of other painters i.e. rococco large scale historical scenes, impressionist plein air. You can see it in all his paintings, a need and desire to develop – so anything goes. FIDGETY ARTISTS. He has, as a result become an excellent technical painter [on top of his powerful image making skills]. When making a painting, he will make the clothes / costumes for the models to wear and will get the flowers in and then sets it all up with mannequins as opposed to models.
He has a constant conversation with the History of Art and will take anything from a few weeks to a decade to complete a painting.
Ref: Slow Dance
Stephen Knott talks quite extensively about the phenomena of Paint-by-Numbers, it’s popularity and attraction, he even ran some workshops while at the RCA. I decided to have a go myself and [although yet to be finished] I enjoyed the ability to do something with my hands while not having to think to much. That is not to say I did not concentrate, in fact it took a lot as the image I had was quite intricate, the numbers very small and, I had to mix colours 50/50 to get the range of shades the painting required [this was in the instructions].
Ceramic sculpture: ‘The human body is referenced repeatedly, in all of its dumb charm and joyful habits.’ http://bombmagazine.org/article/3523/jessica-jackson-hutchins Transforming date from daily life into shapes and images; collaged but not as we are used to it.
This looks to be an interesting blog in which various artists explain their practice. http://expandeddrawingpractices.blogspot.co.uk
I had been over a few times to walk around the park and enjoyed the Kaws exhibition but I had not managed to find time to get up to the Long Gallery or do some sketching. Just before it closed I managed to squeeze 4 hours in and was not disappointed.
These are a fairly typical approach to drawing that I have when I go gallery drawing, I always try to take one sensible pencil case but always end up with at least 3. I then love to sit on the floor and draw what comes to me which may or may not include signs of what i am actually looking at. They are often a hybrid of forms or / and paintings.
In the case of the Kaws exhibition, the drawings are quite suggestive of it with the silhouettes and crosses for eyes. I keep a drawing blog [although not so much this past 18 months] and I went through a phase of about a year when a lot of drawings featured a great big X through them [often in pink or red]. https://drawing.me.uk/
I often think of my drawings as being fairly colorful, sitting with the KAWS work made me think otherwise – rather dull.
Tricky one, not keen on the work itself but interested in the process and direct illustrative references as a possible exploration in my own practice for the next phase of the PhD along with the engagement with a textiles materiality.
Haynes is a quilter who is interested in the history of place. He uses cloth that is of / synonymous with a location.