Luke Haynes

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.

luke-haynes-fabric-figures-2013-madamx
Luke Haynes. Fabric Figures. 2013

Ref: http://www.accuquilt.com/shop/tours/past-exhibitions/fabric-figures

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Study of ‘Hobbiest’ Craft Materials

I have realised that I need to develop a greater understanding of some of the materials that I associate with amateur craft makers who particularly rely on shops such as Hobby Craft or Magazines available in local newsagents. I am trying to engage with making as an amateur [which I believe I am] BUT, I operate professionally [in my job] within a design and craft arena in which I have access and a breadth of knowledge of textiles. As a weave tutor, I teach about professional applications of design and as such this requires a high level of engagement with contemporary yarns, dyes, equipment and methods.

I believe that switching and using those materials that we may choose to not use within a design studio but will find in abundance in a local craft’ing’ shop will expand my visual vocabulary.

I have started to tentatively explore this through stitch and am looking forward to the next phase of this research in which i will fully submerge myself in this world of wonderful materials: pom poms, scoobies, hama beads, sequins, ‘fuzzy’ felt sheets and pipe cleaners.

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Quilted [small] Banner, exploring hobby craft materials. [Perren, 2016]
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Detail of Hobby Craft Banner. [Perren, 2016]
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Study with Pom Pom’s [Perren, 2016]
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Detail of Pom Poms. [Perren, 2016]

Aurora Passero

Passero uses

cloth – coloured nylon thread – tastles – fringing.

Abstract art works with an interest in the material as a point of departure.

                                          Lack of subordination between the material and craft of making to the concept.

THE RESISTANCE AND BALANCE BETWEEN MATERIAL, ROOM, FORM AND CONTENT ARE FOCAL POINTS.

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Exhibition: Ivory Tactics. Kunstnerforbundet, Oslo, 2012

The lack of hierarchy within the practice is something that is of interest to me within my own practice, a lot of the early paint making that I undertook a few years ago, grew out of a desire to eradicate the idea over the action. I am keen to observe balance and see all aspects of a painting or drawing act[ion] to be of equal status.

http://www.studiospacedout.com/http/spacedoutinteriorstumbrcom/2015/1/12/aurora-passero

Learning to make Glass Beads.

I was lucky enough to go to Berlin this month [a field trip with students] and found the time to find out about a few workshops that i could take part in. i was keen to experience something I really had no experience in and so I picked the glass bead making session. It was an organised group session however I was the only one so got a 1:1 session for an hour and then had a few hours after to work under my own steam.

I was totally transfixed with the process, it was strange to be doing something so hands on yet their was no skin to material contact while it was being made. When drawing or making textiles, the hand and touch plays such an important role – particularly in terms of having a direct understanding of how a material is responding.

Here you can see the results of this session and my notes on what to do. I am interested in perhaps developing this further if it feels appropriate. I have found, although not yet visited, a studio which offers open workshops for glass bead making in Hebdon Bridge which is quite local to me.

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Hand made glass beads. [Perren, 2016]
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Hand made glass beads. [Perren, 2016]

Revisiting some earlier Paintings

Over the for 5 or 6 years I have explored making my own materials, mainly paints [tempera, oils and gouache] but also chalk pastels. I am interested in developing greater connections and other experiences from the making of a painting or drawing itself.

I am very much an amateur paint maker [and painter] but I am wondering what part this element of my practice may bring to this research. By questioning the nature and materiality of the materials I [and others] utilise within amateur craft making, what may this bring to the table?

I think that before I start to question this to much, I will need to develop a better understanding of the kinds of materials and tools that are filling hobbiest craft makers cupboards, what are standard in hobbiest craft shops?

Here are some paintings I made with tempera paint while I was busy formulating the ideas and question for this research. This paint has been made on the day with fresh egg yolks and artist grade pigments which is how paint was typically used between the 12th and 15th century, following this oil paints became the more usual medium of choice. Today, tempera paint is more commonly used and known as ‘primary school paints’ although it does not use eggs.

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Two Forms. Egg Tempera on Paper, 55 x 74 cm [Perren, 2014]
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Egg Tempera Study. Egg Tempera on Paper.55 x 74 cm [Perren, 2014]