MMT 3- Molding and casting- Artist research

Eduardo Paolozzi 1924-2005

Scottish artist and said to have a very prominent influence on the pop art movement.

He created sculptures, collages, drawings and prints. He made large scale figurative sculptures from plaster and molds and aluminum sculptures which included things like engine parts , to create sculptures of futuristic machinery. It is said he used found objects to impress into his casting material to create texture in his sculptures. He also used a variety of techniques from casting from shop dummies and using reliefs to using the lost-wax method.

I get a real industrial revolution feel from his work and I like the way he combines the humanoid with the machinery or mechanical features as it gives a real sense of a robotic futuristic take over. He obviously  had a passion for science and technology. 

Paolozzi made a number of robot-like, human-sized works during the mid-1950s. He was fascinated with robots for much of his life, perhaps as an allegory for man within a system beyond his control. They owe something to the existential beings produced by Giacometti, with the addition of Paolozzi’s own vision and interests. The works don’t have a feel of a bright future; they are a vision of a “used future” (a term that came to some prominence at the time). And yet, these emotionless collections of parts do seem to have stability and pride in them, a quality that seems closer to an attempt to prolong life, rather than the opposite.” [1]

Head 1979 Eduardo Paolozzi
Sir Eduardo Paolozzi, ‘Cyclops’ 1957
Cyclops 1957 Sir Eduardo Paolozzi
Sir Eduardo Paolozzi, ‘Kardinal Syn’ 1984
Sir Eduardo Paolozzi Kardinal Syn

Images from

Victoria Ferrand Scott

 A yorkshire based abstract sculptor who also uses drawing and video in her work. She works with mainly fluid materials such as concrete, plaster and bronze in her sculptures.  She was awarded a grant in 2012 to work with Leeds University experimenting with the use of flexible forming for casting concrete. Unfortunately I could not find any links or information of this work either with a google search, on the Leeds university site or on the OCA online library. This was disappointing as I could see from other textile students blogs that they had been able to access it. Maybe because the research is 8 years old they have removed it from the university site?

I managed to find out that she creates molds from latex and from fabric to cast concrete in and also uses gravity, pressure, binding and wrapping to manipulate the casting material while it is in the mold. This creates unique, smooth, ‘fluid’ shapes in contrast to the cement it is made from.

I like the bulging fluidity of her work as the bulging of the wrapping exercises in part 2 interested me a lot- making a material bulge through another, or using wrapping to create tight areas which made the material ‘ooze’ out of another area inspired my body shaming samples in part 2. I am beginning to have ideas of filling balloons or stockings with plaster and then when they are nearly set, wrapping them to create bulge, or laying them on top of each other so they spill over each other. [2]

Moon Trees
Moon Trees- Victoria Ferrand Scott
Pulling-Victoria Ferrand Scott
Compress and Expand
Compress and expand- Victoria Ferrand Scott

Images from

Rachel Whiteread

Is a British sculptor, mainly working on large scale pieces. She is known for her casts of domestic objects which reveal their inside ‘negative space’. She casts the internal space of objects such as closets, houses, water towers and cardboard boxes, giving the viewer a different perspective of these objects, a view that might not be obvious- the empty, inside of an object. Something that should be empty but is now filled with plaster or concrete, capturing forever the whole internal space of an object, the memory of that emptiness.

‘Ghost’ seems to be the significant piece that launched Whiteread’s reputation in the art world. It is a negative plaster cast of a victorian parlour room from a house in North London that was scheduled to be knocked down. It was created in pieces, a grid like formula applied to capture every inch of the room, and then reassembled, facing outwards, giving an inside out version of the room. You can see that it is a room, but it’s not functional. It appears as a lonley, cold memory of what it once was-warm, cosy, filled with a family. The name of this piece is perfect; ‘Ghost’- a vague imprint of something left behind.

Whiteread then went on to cast the interior of an entire 3 storey house in London (untitled-House) except for the roof. This piece raised a lot of issues on political and social levels, highlighting redevelopment plans for the area which were unpopular, public housing debates and situations of housing in deprived areas. It was torn down by the local council after only 80 days, although it did win her the Turner prize. Again, the feelings it evokes in me when looking at it is an emptiness, a coldness, the concrete function of what a house is without the warmth and comfort of what a home is.

In 1998 she created an internal cast of an American water tower which was installed on the roof of a building in Soho between two working water towers, an iconic Image in America. It was cast in translucent resin which again invokes that ghostly quality. During the day, different light and weather conditions change the towers appearance, it can become almost invisible in some conditions.

I like this artist’s work because of the ongoing theme of creating a memory of something that once existed, taking something familiar and turning it inside out, giving a view of the empty space by filling it up and displaying it without the outside shell- it’s still recognizable but in a totally different context.

This was the theme I enjoyed experimenting with in part 2 when I wrapped a spoon with wire and then removed it leaving behind what I called the ‘memory’ of the spoon. Not an exact replica more the ghost or memory of what was there before. 

“Despite enrolling on the BA painting course at Brighton Polytechnic, she spent most of her time in the sculpture department. In her second year the artist Richard Wilson gave a workshop on casting and, importantly for the rest of her career, Whiteread saw for the first time that the cast of the space around a simple spoon resulted in it “simultaneously both losing and retaining elements of its essential ‘spoon-ness’. I can’t say that I realised there and then that the possibilities might be almost endless, but I knew it was challenging and interesting that something so simple could change your perception of objects.” [3]

Rachel Whiteread. Water Tower. 1998 | MoMA
Water tower 1988 Rachel Whiteread
Rachel Whiteread’s “House” Was Unlivable, Controversial, and Unforgettable - Artsy
(untitled) House Rachel Whiteread
Rachel Whiteread: Sculpture at Gagosian Britannia Street, London
Rachel whiteread studio

Images from my pinterest board collected from a variety of sources

Rebecca Fairley

Rebecca is the course leader for textiles with the OCA and the writer of this course module- Mixed Media for textiles. Her speciality is surface qualities of concrete through creative practice, in which she did her masters degree at the university of huddersfield. She uses different materials such as fabrics and plastics and knits to create molds for concrete, leaving behind the subtleness and texture of a material into the hard coldness of the concrete, transforming the quality of it. She also traps fabrics and materials inside the concrete and then polishes away the surfaces to reveal what is hidden inside. Rebecca was reluctant to use concrete at first as she felt it was a very ‘masculine’ material to work with, but encouraged by her tutor and helped by her husband she came to experiment greatly with it, changing the masculine quality by adding the textures of soft materials.

I like the contrasts she creates with the hardness of the concrete but with the texture of a knit or flowing fabric like muslin. I also particularly like the concrete with the fluffy pipe cleaners inside, a hard outer shell but when excavated, a soft fluffy inside. The contrasts of the hard and soft are what makes her work so exciting. [4]

title. fabric and matter, final major undergraduate project
date. 2011
city. Huddersfield
imageRebecca M Fairley
title. Investigating the Surface Qualities of Concrete Through Creative Practice, Masters by Research 
date. 2013
city. Huddersfield
imageRebecca M Fairley
title. Investigating the Surface Qualities of Concrete Through Creative Practice, Masters by Research 
date. 2013
city. Huddersfield
imageRebecca M Fairley

Images from

Susan Benarcik

Susan Benarcik is an American sculptor, environmentally focussed, who uses mainly found objects in her work. She uses leaves, sticks, paper, string and techniques such as knotting, looping, weaving, wrapping and layering to create 3 dimensional sculptures. I really like her metamorphosis series and the ‘Why our hangers’ piece. Cocoon and pod shapes really appeal to me, they are organic shapes in the natural world offering protection, safety, transition, themes I looked at in part 2. I felt that this artist would have been better researched during part 2 due to her techniques and use of found objects and was a little confused as to the molding and casting relevance of her work on this module. I have seen her ‘losing touch with reality’ piece made from 32 hands, cast in plaster, moldined from her own hands, hanging over a bed of wheatgrass, asking viewers to think about their connection, or lack thereof, with the natural world. But this was the only piece I could see that really fell into the category of molding and casting. However, I enjoyed looking at her work, and seeing connections to part 2. [5]

2 Heliophilous
Heliophilous from metamorphosis series 2012 -Susan Benarcik
8 Geminiflorous
Geminiflorous from metamorphosis series 2012 -Susan Benarcik
Why our hangers-Susan Benarcik

All images from

Independent Artist research

Steen Ipsen

Steen Ipsen is a decorative ceramic artist, his pieces are expressed using form and decoration. His processes involve clay elements built up or free hand modelled objects. He never uses computers or digital techniques as he says it’s important to him that the craftsmanship comes from his own hands. His pieces are wrapped with coloured string or PVC after they have been fired.

I love the fluidity of this artist’s work. The Balls, Bubbles and Organic movement series were my favorite as they seemed to have much energy about them. The high gloss and shine builds the depth of the pieces and it really looks like some of the Bubble pieces could actually float away. He uses colour contrast really well- Red PVC wrapped around pure white ceramic balls, or Black on red and yellow on blue- always dynamic. The red on white reminded me of the red embroidery on white cotton strips I did for Joining and wrapping and also the red writing on the white raffia, the colour combination is quite striking. 

The strings and PVC wrapped around the pieces looks like it’s holding the piece together but I don’t think that’s the case, the ceramic shapes are joined already, created as one piece I think. 

In his vessels collection the pieces are geometric- some in form and decoration, some in decoration only but that give the impression of form. These pieces reminded me of the patterns from part one created by folding and pleating.

I think I was drawn to his work because of the organic forms, the ball and pod shapes he  creates as they are shapes that appeal to me a lot. [6]

Tied-Up 4/2016. H 62 x W 50 cm.
Tied-Up 4/2016. H 62 x W 50 cm.
White earthenware with red PVC -Steen Ipsen

Images from

Maria Bartuszova

Maria Bartuszova is a Slovak artist who specialised in ceramics and porcelain during her studies at the academy of applied arts in Prague.

Her processes include pouring plaster into shapes like balloons and tyres and then pressing or wrapping them as they start to harden. She also experimented with weight, creating soft plaster sculptures by pressing hard objects into the plaster and binding them with elastic bands.

I like the clean smoothness of the plaster with the imprints of the lines where it has been bound. I really like the bulge created, by squashing or wrapping, they make the sculptures look soft rather than hard. There are similarities between her work and Victoria Ferrand Scott’s work although I do prefer the white softness of Bartuszova’s pieces.They seem more fresh and organic in nature to me. [7]

Maria Bartuszová, Folded Figure, 1965
Folded Figure, 1965
Plaster -Maria Bartuszova
Untitled 13
Untitled 13, 1985
Plaster, string-Maria Bartuszova

All images from

I found a lot of inspiration from the artist research this time and enjoyed researching other artists I found myself. I created a pinterest Board here of all work and techniques that interested me.








MMT Part 2 Joining and wrapping End of module reflection

MMT Part 2 Joining and wrapping reflection

Assignment 2 was a bit of a mixed bag for me. I understand the learning behind the exercises but found some of them quite tedious which does not help with motivation and the flow of ideas. I think this is why I sort of stepped outside the box with my making in the developed samples of part one and the uneven wrapping of part 2. In part one I was led more by the effects of the shadow and light caused by the samples, inspired by the work of Ricki Wolf and in part 2 I chose a theme of body shaming to influence my end wrapping samples. Although this may have been slightly off course, I believe good lessons were learnt in regards to observation and visual awareness and in developing my own personal voice. I believe that I communicated my ideas in a clear way that explains why I took the path I did with my samples.

I do believe the brief criteria and the assessment criteria were met as I used a range of materials ( papers, card, plastics, foam, metals, felt, polystyrene, stones, flowers, willow, LED lights, wools and yarns, pipe cleaners, wire, cable ties, split pins, poppers to list a few.), and techniques, ( stitching, looping, weaving, tying, knotting, again, to name a few), throughout the module. I allowed my ideas to be influenced not just by the artist research required but by my own research and observations of other artists and also the observations I made of my samples and ideas, such as the play of light or the space left behind after removing the wrapped object. I took photos of all samples from various angles using different light sources and did detailed sketches of samples and ideas in my sketchbook.

MMT-Part 2 Joining and wrapping-project 2 exercise 3 uneven wrapping

Project 2 exercise 3 uneven wrapping

I have sort of gone my own way with exercise 3. I have still used a variety of wrapping techniques such as weaving, looping, stitching and tying but I wanted to explore more the ideas of people being wrapped which arose with my samples in exercise 2. I researched a lot about wrapping people; from the religious and cultural aspects such as Eygyptian mummies, Innuit baby wrappings to the japanese art of shibari, now seen as an erotic binding but which originated from the restraining and torturing of captives . I will include the research in the back of my sketchbook.

I then looked at what wrapping people could mean; safety and protection, silencing and restraining, metamorphosis. This brought up a whole host of ideas which I laid out in a mind map in my sketchbook. I also wanted to try and incorporate creating bulge as this had appealed to me in exercise 2 and also the wrapping of, and then removal of, an item, leaving an ‘empty’ space behind. These two themes led me to the subject of body shaming, specifically fat shaming, and being cocooned away, protected from society’s views on beauty and health. I do appreciate these themes have occured in quite a roundabout way but I felt strongly about following my instincts on this exercise.

Sample 1

Making sample 1
  • Wire looping around a balloon to create a cocoon
  • I experimented with wrapping thread around the wire but realised this was just going to take too long and didn’t look as I imagined it would anyway so I scrapped that idea.
  • I was pleased with the cocoon but felt it needed something more. I wrote words connected with being ‘big’ onto raffia and then wove these words through the wire looping-suggestive of words being used to hurt but them not actually getting through to the inside of the cocoon- the wire and the words becoming a sort of outside shell to the doll I placed inside.
  • I used a small doll, wrapped in string to create a larger body mass. This was not very aesthetically pleasing so I then wrapped it, randomly, with a tape measure as a further expression of size.
  • The doll was then placed inside of the cocoon.
  • I think the symbolism of this sample works well, there are lots of examples of wrapping- looping, weaving, circular wrapping of the doll with string and tape measure. The looping and weaving I class as uneven as there was no plan or specific design to the wrappings. 
Sample 1

Sample 2

Making sample 2
  • Barbie doll, wadding, stocking and stitch
  • I pulled the stocking over the barbie doll and then stuffed it with wadding. I used stitch to abstractly sculpt a bulging body. 
  • I liked the words on rafia from the first sample, so I took this a step further and stitched words onto strips of cotton which were then wrapped and tied around the body, trying to emphasise and create more bulge.
  • I felt this sample was quite impactful, the red words stitched onto the white cotton really stood out, the barbie doll is traditionally a model of the perfect size woman so making her bigger has an impact. The strips of cotton also reminded me of a beauty pageant sash. 
  • Im not sure how ‘unevenly’ wrapped this sample is though.
  • Further work on this sample could include using lycra to create a more fleshly look rather than the stocking and maybe being more abstract in the way the doll is wrapped.
Different wrapping on sample 2

Sample 3

Making sample 3
  • For this sample I used a stocking filled with wadding to create an abstract body form.
  • Areas were wrapped with thread to create sections and then the cotton strips were wrapped randomly around the ‘body’
  • I liked the more abstract nature of this sample but felt it needed more wrapping to create bulge
Cocoon by EE McCollum

Sample 4

Making sample 4
  • I used the same stocking base as in sample 3 for this one
  • I used elastic bands to wrap lots of bulging pods all over the ‘body’ and then wrapped and tied with the cotton strips
  • This was more abstract and had more wrapping. The stocking gives a nice smooth surface for creating, like the stocking over the mug samples in ex 2. 

Sample 5

Making sample 5
  • I used a toy mannequin as the base for this sample
  • First I wrapped around it with wadding. I then wrapped it with deli paper that I had written on in red ink (to mimic the cotton strips and rafia)
  • I used elastic bands to create structure and form and then wrapped with washi tape which had a tape measure design.
  • The sample was neat and tidy and did not give the impression of uneven wrapping.
  • Going back to the cocoon idea i wrapped an onion net over the whole sample- the orange net resembles the caterpillar cocoon in my sketchbook. The net molded around the shape, emphasising the curves and bulges.
  • I then placed a toy skeleton under the net wrapping, symbolising we are all the same underneath.
  • I like the concept of this sample and the materials used, but again, I am not sure it says ‘uneven wrapping’. I do feel there could be much more scope to take this forward though at a later time, the idea is strong, it just maybe doesn’t fall in line with the criteria.
Wockia Asperipunctella cocoon
Image from Pinterest

Sample 6

Making sample 6
  • Back to the barbie doll covered with wadding and a stocking for this sample.
  • I used red perle cotton to wrap and tie in a very loose shibari style, to create definition and bulge on the soft body. This worked well, especially on the legs where a good definition was created.
  • I wrapped washi tape around her tummy to squash it in, an attempt to ‘hide’ the fat.
  • I used an onion net to wrap around her, for a cocoon effect but this didn’t work- it wasn’t quite big enough to cover the whole doll like it did on the toy mannequin so it looked odd.
  • If I took this sample further I would make the wrapping of the thread much neater, more like the shibari style.This would make it more pleasing to the eye, but again, I don’t think it would make it uneven wrapping.
work by Garth Knight

Sample 7

Making sample 7
  • Final sample was another toy mannequin, wrapped with wadding and this time wrapped with a nylon stocking. Elastic bands were used to create bulges. Wire was wrapped around to provide a support background for a looping technique using perle cotton. It was my intention to use the looping to recreate the look of the caterpillar cocoon in my sketchbook.
  • Again, I found this sample aesthetically pleasing- the small, smooth bulges pushing through the looping are discrete but there. I should have used the red perle cotton for the looping but I had run out which is why I used purple. I feel it would have a better impact in red.
  • Again, the looping technique is random but is it Uneven?
Capturing detail by sketching


Although I am pleased with the statement behind my samples, I am aware that maybe I went too far off track with this exercise. It felt important to me to follow my instincts with this exercise as all the research and sampling was pulling me in this direction and I felt I would work better with a theme alongside the criteria of uneven wrapping and trying to allow my personal voice to come through. I could have randomly wrapped teapots, twigs and dolls together to see what I ended up with but this did not feel as engaging to me. I did employ different techniques so I feel I did cover the learning lessons behind this exercise, but I am aware that my uneven wrapping techniques have been employed in a more structured way which is maybe not what this exercise called for.

Reflection on project 2

I felt comfortable with  exercises 1and 2 in project 2 but a little less comfortable with ex 3, probably as I was trying to incorporate a meaning into the samples and was constantly questioning whether I was doing the right thing or should I just be sticking to the criteria.

I was comfortable using all the techniques and I particularly enjoyed using the stocking to create soft, smooth, flesh like samples and using wrapping to create texture and bulging areas. During the research stage I was a bit ambivalent towards the work of Christo and Jeanne-Claude. But, I found, during exercise 2 when I was wrapping a mug, I did prefer the simplicity of the brown paper and string, much like the simplicity of the plain fabrics used in their work, especially the tree wrappings. I also really enjoyed what I called ‘wrapping empty space’ in exercise 1- wrapping an object and then removing that object, leaving a wrapped empty space. These empty shells really spoke to me- they were like a memory left behind, not an exact copy of the object wrapped, more an abstract memory of the form that was there, if that makes sense? I feel there could be more scope for this idea in the future.

I used my sketchbook to record detail of my samples- Sketching always makes me notice the detail more, rather than just photographing. I used a variety of mediums to try and capture the feel of the samples. I also used my sketchbook for further research into wrapping people and to jot down ideas as they came to me.

MMT Part Two- Joining and wrapping- Project 2 wrapping EX 2 Wrapping with materials and Threads

MMT Part Two- Joining and wrapping- Project 2 wrapping EX 2 Wrapping with materials and Threads

Brown packaging paper and string

  • Packaging paper was crumpled
  • String pulled tight around it in a grid like pattern
  • Didn’t really make the shape of the mug any more defined accept around the handle
  • I don’t think there were enough layers of paper for the string to have much effect on the texture of the paper
Brown packaging paper and string

Wadding and string

  • Wadding was very bulky, totally disguised the shape of the mug
  • I pulled the string as tight as I could to try and create areas of bulge and texture but I didn’t manage to get as much bulge as I was expecting
  • The string did define the shape of the mug better than the previous sample
Wadding and string

Wadding and fruit netting

  • Fruit net was quite fine and as I was trying to pull it around the wadding it kept tearing
  • I used string threaded through the holes of the net to gather it in around the mug creating more tension than i had managed with just the net
  • While It did create some bulging through the net holes, again, it was not as much as I expected. It did add slight texture to the wadding but what interested me was the sweeping linear pattern of the fruit net against the white. It stood out really well as a clear and defined pattern.
  • Where the string was pulled and gathered at the back, this created a flower type design with the wadding bulging out in places
Wadding and fruit netting

Wadding and nylon stocking with LED lights

  • I wrapped the wadding around the mug then stretched a nylon stocking over the wadding. I then added some LED lights on a wire. I couldn’t pull the lights too tight as they were quite delicate. I then folded over the stocking and stretched it back over the lights.
  • The stocking compacted the wadding and made it more uniform and smooth in shape and texture. The lights were not wrapped tightly enough to make much of an impression into the wadding.
  • Looked a bit like a decapitated body part due to the flesh colour of the stocking. The lights reminded me of veins under the skin while they were turned off.
  • When the lights were turned on it added a fun element to the sample, changing the look from a piece of flesh to something more cocoon like.
Wadding and nylon stocking with LED lights

Wadding, nylon stocking, LED lights and gold wire

  • Because the texture was smooth in the previous sample I wanted to add a bit more definition and texture so I wrapped gold wire tightly around the outside.
  • This changed the look and shape, the wire pulled in parts of the wrapping and in one photo I took the wrapped mug looks like a side profile of a face
  • The material bulged out in places over the wire creating a totally different look from the previous sample. Same materials used with just the addition of wire to ‘sculpt’ the sample.
Wadding, nylon stocking, LED lights and gold wire

LED lights, crochet doily and black, round elastic

  • Wrapped the lights around the mug then placed the mug on a doily. Started by pulling up 4 ‘corners’ or petal rounds of the doily by threading elastic through the crocheted holes and pulling up tight at the top of the mug.
  • Loose look with 4 folded corners, not totally wrapped
  • I then pulled up more of the rounded petal shapes using the same method, this gave a more gathered look with protruding ridges making it look a bit crown shaped.
  • I pulled up the remaining round petals and pulled the elastic really tight. The elastic enabled a greater tension to be achieved. This pulled in the ridges and greated tighter gathers around the mug.
  • I threaded the remaining elastic through the crocheted holes around the sides of the mug, pulling tight to create smaller, thinner, linear ridges.
  • The LED lights created shadows and depth and highlighted some of the coloured parts of the mug showing through the crochet doily.
LED lights, crochet doily and black, round elastic

Wadding and elastic

  • Went back to the wadding, this time with elastic as I thought I could get a better texture as the elastic would pull tighter than the string.
  • It did create more texture, but again, not as defined as I had hoped.
  • I think several layers of wadding are needed to really make definition but I only had a small piece available to me.
Wadding and elastic

Wadding, brown paper and elastic

  • I covered the wadding with brown paper to give another layer as I didnt have more  wadding. I wrapped elastic round in a cross pattern. As the elastic pulled tighter this created shallow indents that also gathered the brown paper’
  • I wrapped even more elastic round in a grid shape. This created a lot more texture and definition . The elastic pulled really tight creating bulges and tension. Reminded me of material wrapped Shibori style ready for dyeing.
  • When the elastic was removed it left a pronounced texture in the brown paper.
Wadding, brown paper and elastic

Brown paper and string

  • Went back to the simple brown paper and string to do a loose wrapping- Christo and Jeanne Claude’s wrapped trees give a sort of billowing effect
  • Paper was gathered around the mug and twisted at the top
  • String wrapped loosely around in 2 places and tied with a bow
  • Interesting shape, you wouldn’t know what was inside, no definition of what’s inside.
Brown paper and string

Tissue paper and pipe cleaners

  • Good contrast between the thin tissue paper and the fluffy, wired pipe cleaners
  • Tissue paper was folded around the mug in a sort of pleated way
  • First pipe cleaner wrapped round tore the tissue paper above the handle of the mug
  • I threaded the other 2 pipe cleaners through the handle
  • The pipe cleaners compressed the pleated tissue
Tissue paper and pipe cleaners


I feel I needed a lot more layers of material for the wrapped threads to actually indent and create new textures in the wrapping material. Even when I used elastic which I was able to pull really tight there was still not as much definition as expected.

I enjoyed playing with the doily as that is not an expected wrapping material. The crochet holes allowed me to pass the elastic through, creating different ridges and pleats. I also got lots of different shapes along the way until finally the whole doily was tightly wrapped.

I feel the LED lights added an interesting feature, creating light and shadow and highlighting areas of the wrapped materials.

The samples using the nylon stocking interested me the most. The stocking being pulled tight over the wadding created a very smooth, soft shape. When the wire was added it gave definition and texture to the sample, in one case resembling the profile of a face. This led me to researching faces and people being wrapped (lots of images of these on my pinterest board). 

I feel I could have gone on, wrapping in different patterns, less threads, more threads etc but with limited time I find it hard to cover every angle or every idea I have.

MMT- Part 2- Project 2 Wrapping

Project two Wrapping

Exercise 1 Straight wrapping with threads

Black sparkly mohair wool- straight wrap

Black sparkly mohair type wool

  • Easy to wrap with
  • Bottom of the spoon bowl had to be wrapped several times to enable me to move up to the spoon bowl as it kept slipping
  • Had the same trouble with the top of the spoon, kept slipping off as nothing to hold it to.
  • Making denser in places- easy on the stem, harder on the bowl of the spoon.
  • Took quite a lot of wool to make denser as it was fine but achieved a nice effect once done. Easy to manipulate into different shapes.
Black sparkly mohair wool- denser in places

Brown variegated string

  • Very easy to wrap evenly, the previous wrap acts as a type of ledge for the next piece to sit snugly against creating a very even and neat wrap. It looks precise and uniform in contrast to the fluffy mohair wool of the previous wrap.
  • The tonal variegation of the string adds a nice design element
  • It was not as easy to keep the wrapping neat when wrapping denser, I had to use a criss cross method to build up bulk.
Brown variegated string


  • Very even and neat on the handle of the spoon, again, harder to wrap neatly over the bowl of the spoon due to the curvature. 
  • Wrapped well due to the flatness of the raffia
  • Harder to wrap denser, had to use criss cross method again, couldn’t control the tension very well.
  • Does not look much different when wrapped denser to when it was flat.

Pipe cleaners

  • Great fun to use, colourful and very easy to wrap due to the wire inside.
  • I used different colours which created a fun, fluffy rainbow effect.
  • Very even and neat, you can see the contrasting lines, adds to the effect.
  • Enjoyed wrapping denser with the pipe cleaners as the wire can be bent into different shapes creating 3D shapes which were extended past the base of the spoon, creating a sort of ‘floating’ sculpture around the spoon.
Pipe cleaners

Recycled silk yarn

  • Easy to wrap quite evenly
  • The loose fibres gave it a very textured look and the colours were quite intense
  • Making it denser was easy, the loose fibres helped with grip. I didn’t have very much of this yarn though so could not go as dense as I would have liked.
Recycled silk yarn


  • Wrapped with silver beading wire very sparsely so the spoon could be seen beneath.
  • Wrapped in a criss cross method
  • Very simple and basic, no real design or standout features until I removed the wire.
  • I managed to slide the spoon out from the wire leaving behind the abstract form of the spoon in the wire. I found this very interesting and will explore this further.
Silver beading wire

Combining threads

Sari ribbon with handspun art yarn

  • Good contrast between the smooth silkiness of the sari ribbon and bumpy texture of the art yarn. The art yarn is soft but dense, the sari ribbon delicate and light.
  • The colours compliment each other and the gold thread of the art yarn adds a richness to the sumptuous colours and textures.
Sari ribbon with handspun art yarn

Scarf yarn and decorative yarn from Turkey

  • The scarf yarn has puffy fleece pods and ‘eyelash’ yarn. The decorative yarn from Turkey is a chain stitch with beads and folded squares of material dispersed along the length.
  • Creating denser areas was easy due to the thickness of the fleece pods. The yarn already had a good contrast between the delicate ‘eyelash’ strands and the thicker fleece pods.
  • The decorative yarn adds a vibrant pop of colour, both from the squares of fabric and the green chain stitch base.
  • The spoon resembles a doll shape I feel and the decorative yarn reminded me of a Hawaiin lei.
  • I liked the trailing yarn off the end of the spoon, like it’s trying to continue on it’s own.
  • The texture was very soft and springy. 
Scarf yarn and decorative yarn

Chunky yarn and gold wire

  • Very soft, chunky yarn in 2 different colours, mixed with the stiff wire gave a good contrast of textures.
  • I wrapped the wire very loosely around the spoon so it appeared to be floating around it-it was wrapped but appeared free floating.
  • When photographing it, it reminded me of a bee shape, the wool as the  stripped body and the wire as the wings.
Chunky yarn and gold wire

T-Shirt yarn and silver wire

  • I wrapped the t-shirt yarn loosely around the spoon, making it denser in several places. It was soft and bulky.
  • The wire was wrapped tightly around the soft t-shirt yarn. I wanted to create a bulge of the t-shirt yarn where the wire was tight but this did not really show up, I think the wire was too thin to be very effective. There was some bulge but not defined enough.
T-Shirt yarn and silver wire

Glittery ribbon and LED lights on wire

  •  The glittery ribbon was easy to wrap and gave nice defined lines. I layered LED lights in between the ribbon.
  • The lights shone through the layers of ribbon and I had wrapped them on the outside too. The lights highlighted the glittery nature of the ribbon making it sparkle even more.
  • This looked pretty but it was nothing spectacular, maybe incorporating lights into the next exercise would work better?
Glitter ribbon and LED lights

Going back to the wire

The wire form left behind after the spoon was removed fascinated me. I could tell it was the shape of a spoon but if I showed it to anyone else it would be doubtful they would come to that conclusion as the form was too abstract. 

Silver wire

I then wrapped the spoon with very fine gold jewellery wire and removed the spoon. This was not successful. As i gently pulled the spoon out the wire totally distorted leaving a mass of twisted wire behind. I tried to manipulate it back into a shape resembling a spoon but that didn’t work.

Gold wire

I then tried to combine the silver wire shape with the gold wire, thinking i could thread the silver wire over the top of the gold but that just didn’t work at all.

Trying to merge the two wire shapes together

I then wrapped the spoon with layers of silver, gold and copper wire, all different thicknesses. I couldn’t go all the way to the top of the spoon if I wanted to remove the wire successfully as the top would then be too narrow to slide over the spoon. 

Silver, gold and copper wire

When removed I was left with a wire sculpture of the spoon, which I named, ‘memory of a spoon’. I love the abstractness of it, how it holds its shape, the coils of varying wire, it just works for me as a stand alone piece. 

Memory of a spoon

I was not sure what other materials I could utilize to get a similar ‘ghosting’ effect. It would need to hold its own shape, be strong but flexible enough to wrap around the spoon and be easily removed from the spoon. I couldn’t think of anything that would work in the same way- wrapping around the spoon, but I wondered if I could knot or loop around the spoon and if that would hold the shape once removed.

I tried a looping technique around the spoon with jute string. I started from halfway down the bowl of the spoon so I would be able to remove it. The spoon looked good wrapped in the knotting, like it was cocooned safely in a holder to protect it. I carefully removed the spoon and the string held its shape. The stem had a wonderful twist to it, like achieved with some forms of macrame. It still was not recognizable as a spoon though as I couldn’t wrap the top part of the spoon otherwise I would not be able to remove it.

Jute string

I tried the looping technique with thin beading wire. It took a lot longer to cover the spoon but it worked very well. I had started halfway down the bowl of the spoon again but this time when I removed the wire I added more looping to the top to complete the shape of the spoon. I was very pleased with this result, it looked like a spoon, the wire was fine enough that you could see the front and back at the same time creating a hollow 3D shape.

Silver beading wire

Creating these ghost forms may have stepped slightly away from the brief, but I feel they were an important exploration. When wrapping you are normally concealing something or changing the shape of something. These ghost shapes explore the empty shape left behind when the object wrapped is no longer there or concealed. It’s like a memory of the shape, holding the form of something that once existed. Like the spoon just slid away or decomposed leaving the shape of itself behind as a reminder that it existed.

Silver beading wire, Ghost form


I feel I could have been a bit more playful with the combining of threads, making the spoon so wrapped that it was unidentifiable, or adding 3 or 4 different threads to a piece. Other than that I feel I used a large range of different materials and explored a theme that led me away slightly, from what maybe the expected norm for this exercise was. The memory of shape could advance as a whole project on its own if I had the time available to me.

MMT Part 2 Joining and wrapping-Project 1 Joining

Exercise 1 Joining straight flush edges

I started with joining paper.

  • Sellotape-Joins neatly, flush, remains flexible
  • Staples- not as neat as tape, joins flush if you are careful with placement, creates a stiff centre that’s not flexible
  • Pins- hard to make flush as the paper moves up and down the pin shaft, sharp ends, no flex over join
  • Toothpicks-paper can be flush but keeps moving, sharp both ends, no flex over join
  • Straight stitches- flush depending on tautness of paper
  • Cross stitches- flush depending on tautness of stitches, neat
Joining straight edges- paper

I then used the same techniques on pieces of a plastic dog food bag. The results were basically the same except for the toothpicks as it was harder to get the plastic to stay flush as it scrunched up.

Paper, plastic and card- flush edges

I moved onto corrugated card

  • Rainbow tape- to make a feature of the join. The stripes of the tape echo the lines of the corrugation. Flush.
  • Wire- card kept tearing when pulling the wire through. Edges stay flush if the tension in the wire is correct.
Balsa wood cross stitch and balsa wood and foam with jute string

Other materials

  • Balsa wood with cross stitches- Holds the edges flush really well and is neat and tidy. Reverse looks neat too. The colour of the thread blends well with the wood- doesn’t stand out but is subtle and adds to the design.
  • Balsa wood and foam- nice contrast of materials, one hard one soft and flexible. The jute string complements the wood. The knots make a feature out of the join. The reverse looks neat and tidy.
  • Clear plastic and patterned tissue paper (no image)- joined with sellotape. The materials are transparent but have different weights and textures. The tape is transparent to complement.

Outcomes- I used a range of different materials for comparison. Most worked well with the joining methods I chose, the exception being the toothpicks. They joined the paper and plastic OK, but the edges were not really flush. Not all methods of joining I noted at the front of my sketchbook would have been suitable for this exercise due to the edges needing to be flush. I liked the results of the contrasting materials together, it adds interest and different textures. Some methods of joining were complementary (the balsa wood with cross stitch) and some were detracting which added further interest (the rainbow tape and corrugated card).

Exercise 2-joining straight edges with a gap

Straight edges with a gap
  • Paper and sellotape- even gap, neat. Added sellotape to the back as well so it wasn’t sticky on the back. Using the sellotape makes the gap join ‘invisible’ from a distance. Flexible join. Unremarkable.
  • Corrugated card with raffia stitches-even gap. I alternated the direction of the corrugation for interest. Rafia in a contrasting colour. The raffia is delicate but because it is folded up it makes it stronger. Flexible join.
  • Printed tissue paper, raffia and sellotape- even gap. I twisted the raffia at each end and joined it to the tissue paper with sellotape. I spread the raffia out in the centre to add interest and curves which break away from the linear form of the squares. Also by spreading the raffia out it gives it back its delicacy which mirrors the tissue paper. Flexible join.
  • Balsa wood and wire- Uneven gap. By adjusting the tautness and length of the stitches I created an uneven gap. The wood and the wire complement each other, in colour and also in strength- they are both hard but flexible. Flexible join.
  • Balsa wood and thread- uneven gap. Again i created an uneven gap by lengthening and adjusting the tension of the stitches. But this time the thread adds a softness to the sample. The stitches are neater and more delicate, creating a contrast to the wood. Flexible join.
  • Plastic and cable ties-uneven gap. Although both flexible materials the cable ties give a quite sturdy join. I like the abstractness of this one with the ties left pointing out instead of being cut off. Somewhat flexible join.
  • Plastic and tags-(no image) Even gap. Joined with plastic fasteners from a tag gun (same fasteners as used to attach labels to clothes). The join has flexibility. Both the plastic and the fasteners are the same opaque plastic so complement each other.

Outcomes- Looking back at my samples for this exercise I realised that I didn’t experiment with putting contrasting materials together- if I have more time I will remedy this. Also I could have experimented with the length of the gap, from really small to quite a considerable distance apart. I just concentrated on the gaps being even or uneven. Playing with the raffia by opening it up gave it a different look and feel- same material but highlights the strength or delicacy of it. The cable ties and the plastic fasteners were interesting to use as they would not normally be something that would used in this context.

Exercise 3- joining curved edges

Drinks can circles, plastic bottle cap rings, beads
  • Plastic bottle cap rings- Inspired by Barbara Cotteral’s work using waste materials. Joined with perle cotton. Hard plastic, soft cotton.Touching and gaps. Not very interesting. I like the triangular gaps created between the rings.
  • Drink can circles joined with jump rings- Also inspired by Barbara Cotterell’s work using waste materials. Touching and gaps (dependant on how close to the edge the holes were made). I really liked this piece. The simple pattern of the repeating circles teamed with the jumbled up pattern of the design on the can and the silver inside of the can. A lot going on but I think it works. The silver jump rings joining the circles complement the design rather than detract from it.
  • Beads and wire-White and red beads joined together by wire threaded through them, creating rows. Touching and gaps. This didn’t work out as well as I envisioned it, I think the wire was too bendy to hold the beads together tightly. Reminded me of one of those car chair covers people used to have!
Joining curves-straws
  • Straws and thread- Inspired by Pippa Andrew’s work. Cut straws in varying sizes. Joined in a cluster with cotton thread. Touching and gaps. Not that great, may work better on a larger scale?
  • Various straws and thread- Touching and gaps. I used bigger transparent straws mixed with smaller pastel coloured straws. I placed the coloured straws inside smaller cut offs of the larger, transparent straws. I threaded them together, in a line with cotton thread. Again, not a great sample but could be explored on a larger scale with multiple pieces hanging together.
  • Straws and sellotape- In an attempt to join the straws with no gaps I bundled them tightly together with sellotape. This looked very messy and the outside straws stayed together but the inner straws kept falling out as the bundle obviously wasn’t tight enough to hold them all together securely.
Gaps and no gaps, and tessellation
  • Felt and hook and eye fasteners- nice even gap, the metal fasteners have nice detail and are sewn on with contrasting thread.
  • Felt and cross stitch- nice neat line, no gap, tidy, could join any shaped curve this way.
  • Paper- Started looking at tessellation as a way to join curves. No gaps. Reminds me of patchwork piecing. Used envelope interiors for contrasting patterns- makes your eyes go a bit funny!
  • Foam and straight stitch- tessellation, neat, flush edges. Small gap is due to my inaccuracy in cutting out. Firm but flexible. Reminds me of a christmas bauble shape. Could you make it 3D??
Balsa wood, straws and polystyrene balls, drinks can circles and plastic bottle lids.
  • Balsa wood and raffia-Nice clean join line, no gaps. Chose wood coloured raffia so it complemented and maybe looked like a flexible type of wood. Simple knots holding it together. Not very exciting but on a bigger scale or with different pieces all joined together it might look better.
  • Polystyrene balls connected with straws and thread- touching and gaps. Inspired by Pippa Andrew’s work which reminded me of molecules. Creation of any size or shape would be possible with this method. Thin wire might have held better than cotton thread to make it a little more sturdy. Experimentation could be done with different sizes of cut straws, different colours.
  • Plastic lids and drink can circles- again inspired by Barbara Cotterell’s work with waste products. Gaps. Joined with plastic fasteners from a tag gun. Simple forms and lines but an effective design. The plastic fasteners look delicate between the plastic lids and aluminum circles. A statement necklace perhaps??
Felt ball, bottle lids
  • Felt ball- made of 6 circles joined together. Touching and gaps. Simple but effective design. Could experiment with scale, multiples and colour.
  • Plastic bottle lids- threaded together and tied into a circle- looks a bit like a spring. With a different colour lid glued on top it looks a bit like a chinese lantern. Could experiment with interconnection, size and scale.
Drink can circles with beads
  • Returning to the drink can circles joined with jump rings, I cut circular holes out of the 3 middle circles. I then added a wooden bead to each center with a metal jewellery finding. The bead can spin round.
  • I wanted to keep the alterations to this sample quite simple as there was already a lot going on with it, and I wanted to complement the design rather than detract from the original design element. By using circular beads to mirror the circles and and another type of jewellery finding to attach them I feel I achieved this.
Plastic bottle cap rings
  • This sample already had holes in the center that I could add things to. It was a rather boring sample to begin with. I used the off cuts of straws and the centers of the drinks can I had cut out for the previous sample. I was aware that I wanted to use the scraps and off cuts so nothing was wasted- being as this sample was made from plastic waste.
  • I also added wooden beads and some knotting/looping techniques.
  • I feel the additions on this piece have improved the sample greatly. It has more interest now.

Outcomes- I feel this exercise gave more scope for experimentation. I found more ways of joining curved edges than straight. I also think the curves gave more interest, especially the 3D curves like the straws and polystyrene balls. A lot of the samples could be expanded upon given more time.

Exercise 4 Overlapping edges

Overlapping straight edges
  • Balsa wood and velvet split pins- I like the combination of the textures on this one. The contrast of the soft velvet pins and hardness of the wood.
  • Plastic and poppers- I like that the poppers and stitches are visible on the see through plastic. Poppers would normally be used as an invisible method of joining/closing.
  • Multiple overlaps- I used a range of materials- foam, paper, plastic, card and tissue to create a sample of multiple overlaps joined with split pins. Not a great sample.
Overlapping straight and curved edges
  • Variety of papers and netting- Torn strips of gelli printed papers, deli paper, net ribbon and a net onion bag. Joined with straight and curved machine stitch. Overlapping edges. Where the onion net is joined to the papers there is a fair amount of stretch that can be achieved which buckles the piece, adding to the curve. More interest than the overlapping multiples sample above as the papers are decorated and colour coordinated.
Overlapping curves and straight edges
Overlapping curves and straight edges
  • Various sample materials- organza,painted and embossed bubble wrap, painted and heated polysatin and plastic bottle strip. All pieces from my off cuts/scraps box. . The plastic strip (cut from a bottle) at the end was an offcut from an ATV sample so it has a thinner piece of plastic threaded through it.
  • When the plastic was attached it made a curved shape with the organza, a bit like the boning on a corset would do.
  • I like the contrast of sheer delicate organza paired with denser painted and heat treated materials.
joining overlapping curved edges
  • Corrugated card- cut into curves and glued overlapping. Has an armour type feel to it. 2nd sample was then
  • machine stitched along the curves. This flattened the corrugation making it look pleated with a frilled edge. Much softer look than the 1st sample.
  • Paper circles- gelli printed papers, 3 circles, joined with machine stitch at each side of the circle. Not a great sample. Maybe if done with transparent materials with something hanging inside?

While looking through my paper and material off cuts I found samples, fishing rope and hagstones from the final project of ATV . The hag stones reminded me of one of Andy Goldsworthys pieces of Art. (Below). I decided to try joining and overlapping some organic materials.

Andy Goldsworthy
Hag stones and fishing rope
Hag stones and fishing rope
  • Hagstones and fishing rope- loose, abstract, organic, using objects found in nature. I like the colour combinations of the fishing rope against the stones. Tied with knots, threaded through the natural holes. Stones balanced on top and overlapping each other.
Dried orchid flowers, overlapping curves, joined by stems
Dried orchid flowers, overlapping curves, joined by stems
  • Dried orchids- organic, curved petals, overlapping, joined by threading the stems through the petals.
  • Natural objects. I didn’t want to do the leaf thing as that would be too obvious a choice and also I used leaves and stitch in MMT 1. Using flowers instead seemed more original, but in keeping with using objects found in nature.
Recording the details with watercolor and pencil

Outcomes- I experimented with quite a few samples in this exercise, looking at the more normal ways of overlapping and joining like poppers and stitch, but then trying to take my ideas into more abstract, original samples, like using stones and dried flowers. These last two were the most exciting to work on, creating organic forms that had lots of curved, unusual, overlapping edges and pretty colour combinations that worked well together. I enjoyed recording the details of these pieces in my sketchbook.

Exercise 5 forming corners and angles

corners and angles- hinges
  • Paper hinge- copy paper joined with a paper hinge (instructions in my sketchbook). Working hinge, sturdy. Doesn’t look very nice but functional.
  • Card and straw hinge- functional but only a 90 degree opening angle. Again not aesthetically pleasing- the sellotape makes it look bad.
  • Plastic hinge- 3D printed hinge using PLA-Polylactic acid. Hinge made using this file good range of movement, lightweight, functional
corners and angles, curved angles
  • Foam cube- simple form, creating corners and angles, sewn together- not very exciting but a basic sample showing corners and joining. Could be expanded upon, maybe using waste materials like plastic from plastic bottles so it would be transparent or opaque.
  • Gelli printed card- taking inspiration from stitching curved seams. Small snips along the bottom edge and glued onto another piece of card. You can attach almost any shape with this method. Flaps can be glued behind so not on show or in front to create a feature.
Creating angles
  • Popsicle sticks- joined with split pins, good range of movement, can be manipulated into many different shapes creating lots of different angles. Simple but fun to play with!
  • Straws and net- similar idea to the popsicle sticks but using straws. Straws didn’t move as easily as the sticks. Covered with a piece of onion netting to provide stretch to add to the movement. Doesn’t look as appealing as the sticks and not sure how to take it further.
plastic angles
  • Going back to using plastic waste- strips of plastic drinks bottle
  • Flower- strips of plastic, creased in the middle and joined together with thread. Could add more pieces for a complete flower, could make multiples and join them all together.
  • 2nd sample- 4 pieces of curved plastic bottle strips, joined with split pins. I like the shape this created. Could repeat this or use whole circles to create a repeating pattern.
Curved ball
  • Curved plastic strips- split pins top and bottom, forming a 3D ball. Moveable angles.

Outcomes- a lot more scope with angles, creating 3D pieces. Really liked the simplicity of the popsicle sticks, fun to rotate and move into different shapes. I liked the plastic strips, lots of possibilities for joining and creating curved angles.

Developed piece one

Plastic bottle strips

Using the plastic bottle strips I wanted to develop on the 4 pieces of curved plastic joined with split pins in the image further up (with the plastic half flower). My intention was to join them next to each other creating a ‘flat’ piece that would have that wonderful curved diamond shape in between each circle. However as I was playing I was pulled to build them up in a 3D way, randomly adding more circles at angles to each other and the image above is what I ended up with. Reminiscent of molecular structures, it is flexible and stands any way up. It can be moved and twisted in places. It also sort of reminds me of a balloon animal- maybe a poodle! It was fun to make and further development could be adding objects or thread knotting to the empty space of the circles.

Developed piece 2

Thinking of filling in the circles in the above piece led me back to Rickie Wolfes work.

Art by Rickie Wolfe

Although she uses mostly metal and enamel to create her works there are some with what looks like paper. I don’t have the access or the knowledge of welding bits of metal together so I decided to use willow branches to make the circles.

Developed piece 2

I raided my scrap box again for different papers to add. I used shredded cardboard packaging, hole punched paper, burnt hole deli paper, crepe paper, bubble wrap, glassine paper and gelli printed papers. With the gelli printed papers I made cones to fit inside the rings. I used invisible thread to attach the papers although the more delicate papers did tear in places. I like the overall design and textures of the piece but it is not as well put together as I would have liked. The papers were tearing, I couldn’t get the willow circles perfect and it does look a bit childlike and naive! The idea in my head seemed better.

Developed piece 3

Developed piece 3

Wanting to improve on sample 2 I tried again. I had some vintage brass curtain rings so used those with different papers inside and then I burnt holes in the papers. I had no way of welding the rings together so I hung them from a willow branch. Maybe this was moving away slightly from joining, I’m not sure- the papers were joined to the rings and it seemed a natural progression from the willow ring sample. I coated the papers with acrylic wax to make them a little more sturdy. Overall I really like this piece. It’s neater, more refined than the organic messiness of sample 2. The holes in the papers have been made with consideration for pattern and design and the colours chosen carefully to complement the brass tones of the rings.

Developed piece 4

Developed piece 4

Back to the willow again as the organic nature of the willow mixed with the paper shapes continued to appeal to me. I used one large circle and made 3 circles to go inside. I used PVA glue this time to attach the papers. Neater than the invisible thread.but still not perfect. What I have to remember though is I am using totally different materials than Rickie Wolfe. I used very fine gold wire to attach the circles and used some to create lines between the circles and the outside circle at the top.

Developed piece 5

Developed piece 5- joining corners

Still using willow but this time focussing on joining corners and angles. Working with the willow and different papers reminded me of making willow lanterns with my kids at school for the local lantern parade. They were made with willow withies and tissue paper.I used deli paper instead of tissue paper as it is slightly stronger. I burnt holes into the deli paper to create patterns which would be highlighted when lit from inside. I used a battery tealight candle, but I can also see this being used as a lampshade with a bulb inside of it. I used raffia and PVA glue to hold the willow sticks in place. (full instructions are in my sketchbook). Further development of this piece could be made with felt (ideas in my sketchbook).

Developed piece 5- joining corners
Developed piece 5- joining corners
Developed piece 5- joining corners


My developed pieces started off from the plastic circular piece (molecular structure type one) and then each one seemed to evolve from there, developing on from each previous one rather than from samples from each exercise. This seemed a natural progression to me. Influenced by using natural materials (willow) and papers and the light and shadow effects that could be created with them. My pieces were inspired by the work of Rickie Wolfe. I have tried to stay within the brief of joining materials but have also been led by the shadow and light possibilities of the samples.

Capturing the shadows

I did a few quick ink drawings, capturing the different shadows created by the samples. I particularly like the bottom right one from the plastic circular piece as the green shows in the shadow.

MMT-Part Two Joining and wrapping- Artist research

Artist research

Pippa Andrews
“I use textile techniques to make structures derived from organic and architectural forms.” [1]

This artist works with a range of materials and techniques, such as, knotting, beading, stitch to create 3- dimensional, abstract forms. Her ‘Standard’ series recycles copies of the Evening Standard newspaper by turning them into beads and joining them together with nylon fishing wire to create sculptures inspired by modern buildings, bridges and cityscapes as well as natural forms.It seems such a simple method but the scope of design has unlimited possibilities.These structures are reminiscent  of scientific molecules, or DNA codes. My son had a game when he was little made of magnetic tubes and balls that could be placed together in any way and Pippa’s structures also remind me of that game.

Pippa Andrews Standard series
Pippa Andrews Standard series
Pippa Andrews
Pippa Andrews

Her textile pieces are fun and quirky. Some have sewn channels which then have rods or tubing threaded through to create a 3D sculpture. One I particularly liked seems to be made with felt held together with wooden toothpicks.It reminded me of a shell like structure.

Pippa Andrews

Barbara Cotterell
This textile artist works with recycled and waste materials and repetitive patterns. She has used Tea bags, foil, drinks cans, milk bottles, to name a few.

“ Manipulating materials, finding out how they behave individually, how they perform as a group, what kind of fastening works. Everything is about repetition, the similar but slightly changing unit.” [2]

Barbara Cotterall

She uses her art and to raise awareness of our impact on the environment.I liked the cow made with a years worth of plastic milk bottles because it made me think 1, about the dairy industry and 2, the amount of plastic the individual uses in a year.

Barbara Cotterall

‘Impact’ also made an impression on me- a set of crushed drink cans in the shape of a coffin laid out on the grass. When removed the grass had not grown under the cans, so left a circular repeat pattern on the ground. Although this would be a short term impact on the ground it does make you think of the wider implications of all the rubbish we, as humans, produce and discard.

Barbara Cotterall
Barbara Cotterall 

Andy Goldsworthy
This is an artist I knew about as I love his land art. He works with rocks, pebbles, ice, snow, leaves, branches, bark and thorns to name a few materials. His work is an intuitive response to the environment around him.

“The intention of my work has always been to understand my relationship with the land. I don’t go out to improve what is there. But I do feel this need to be a participant, working with it, learning about it.” [3]

Andrew Goldsworthy

While looking at the website link given I was delighted that a lot of the images were accompanied by Goldsworthy’s diary entries. For me, this gave a better insight on his reasons for creating the art and also spoke about any difficulties he encountered while making the art. His art is not permanent,it degrades naturally or is completely destroyed by the elements, and I read that he only takes one photo of each piece of art. The diary entries and a photograph are all that remains, as permanent reminder of his fleeting work. In a way I feel sad that the beauty of the art fades away and cannot be kept, but, on the other hand, his art returns back to the earth, leaving no footprint, or sign that it was there, as maybe it should. 

Andrew Goldsworthy
Andrew Goldsworthy 

Judith Scott
Another artist I had heard of before, but, admittedly, I didn’t know much about. Born with Down Syndrome and left death by scarlet fever, and mute, she was placed into an institution at age 7 ½. Her sister Joyce took guardianship of her in 1986 and enrolled her at the Creative growth art center. After a workshop with Sylvia Seventy, Judith began wrapping pieces of wood in fibre and threads which were referred to as fetishes or totems.. She then moved on to wrapping anything she could find such as bikes, chairs and wheels. She used threads, fibres, fabrics, tubing, plastics, fishing nets to wrap, layer and knot, enveloping and entwining a secret center. The director of the center believed she was “learning to speak and her early pieces were her first words.” [4] I read that she was considered an ‘outsider artist’- I’m not sure how I feel about that comment.

Judith Scott

Judith seemed to conceal and create at the same time. Sometimes you can see what the wrapped item is, other times it’s a mystery. There seems to be no discernable pattern or colour consideration, some are monotone, some are mixed colours and textures. Maybe her disabilities took away all the rules for her and she just created in a way that made her happy and gave her purpose? There seems to be no information about whether the items she wrapped had any personal meaning to her, or why she chose the materials she did, as she could never explain it. This adds to the wonder of the work I feel. What did they mean to her? What’s inside? Why did she wrap them? Prompts so many questions. To me, I feel like the items were possibly being cocooned,becoming safe and protected. She spent many years institualized until her sister rescued her so maybe her work reflects this?

Judith Scott
Judith Scott

Her work has been compared to fetishes or totems . ” It strangely recalls certain African fetishes, from Mali or from Benin, which are symbolically explained in the following terms by anthropologist, Nanette Jacomun Snoep: “Wrapping objects in layers of fabric is meant to put the body and spirit back in order again, thanks to bandaging, mending, and sewing. It is also concealing and erasing the presence that has been eclipsed from our gaze, thereby conferring greater power on the object. A sense of secrecy is thus established in this manner: the object seems to become increasingly inaccessible”. The same is true of other magical objects, from Nigeria or from Congo in particular, where a form is placed in an enmeshment of knots so that the seer may “capture, and then control the powers over which they have mastery through the art of manipulation”. The anthropologist concludes: “By knotting, by tying, and by linking elements together, one thus captures forces, one tames them, and one becomes restored.” [5]

Judith Scott
Judith Scott

 I like the idea that some of her works are like fetishes or talismans because I make spirit dolls and often hide crystals, herbs and charms inside to coincide with the meaning of the doll. I make them on pieces of stick and wrap them with fabrics and ribbons to create the bodies.

Christo and Jean-Claude
I didn’t find the link helpful The about section is just a list of work they have done-naming the works but not giving any clarification of their work. I couldn’t tell if they were drawing big structures wrapped in fabric or actually wrapping big structures in fabric then drawing them! A lot more research told me they were a married couple who created environmental works of art. They wrapped the reichstag in Berlin and the Pont-neuf bridge in Paris. 

Christo and Jean-Claude

“The artists deny that their projects contain any deeper meaning than their immediate aesthetic impact. The purpose of their art, they contend, is simply to create works of art for joy and beauty and to create new ways of seeing familiar landscapes”[6]

Christo and Jean-Claude

“I am an artist, and I have to have courage … Do you know that I don’t have any artworks that exist? They all go away when they’re finished. Only the preparatory drawings, and collages are left, giving my works an almost legendary character. I think it takes much greater courage to create things to be gone than to create things that will remain.”[7]

I must admit to feeling a bit confused about these artists. Although certainly large scale and elaborate, I kept asking myself, “to what purpose?” If the artists insist that their work holds no deeper or political meaning, then I don’t really get it. To go to all the trouble of covering a building or structure with a huge piece of fabric, the majority of which, as far as I could ascertain, were plain fabrics containing no pattern, wording or slogans, seemed a bit irrelevant to me. The smaller more intimate scale of Judith Scott’s wrappings have more mystery and intrigue to me, where as Christo and Jeanne-claude’s work just had me asking why, without really caring about the answer.

Christo and Jean-Claude

Karola Pezarro 
This artist uses sculptures, drawings, embroidery and instalions to convey the fragility of life, memory, and the visible and invisible. There is a strong sense of childhood wonder and nature elements running through her work. She uses textile materials as well as wood, metal, plaster and stone. There is a lot of symbolism in her work and she is also sympathetic to the surroundings and environment in her material and colour choices. The first piece of work I looked at was the Elzenhof Memorial Place which is a site for the unborn child in the Elezenhof cemetery in Harderwijk. The first thing that struck me was that it was sheltered and protected by a hedge and an artistic, curved, organic fence- these reminded me of a mothers arms-surrounding and protecting. There are glass balls that light up in the fence which represent “ elusiveness, vulnerability, soap bubbles and star points in the night sky” [8] She has done a lot of work for cemeteries, exploring the circle of life and the vulnerability of existence.

Karola Pezarro
Karola Pezarro

I like the fact that on her website she has explanations for some of her work and designs. This helps with the appreciation of the work. Some work I might have looked at and liked but not fully understood the reasoning or symbolism behind it. With an explanation, I feel you can appreciate the work more, knowing what has gone into the design.

Her figures work consists of a series of mixed media, abstract figures, some of which have been partially shrouded with open weave/transparent netting and knotted threads, so they are partially obscured-normally over the head. Others have wrapped appendages. Unfortunately, there are no explanations for these works so they are open for interpretation.

Karola Pezarro
Karola Pezarro
Karola Pezarro
Karola Pezarro

She has a vast range of work- from designing large ceramic drawings for the walls of a monastery, to installations and sculptures, ceramic works and drawings.Her work includes lots that fit into the joining and wrapping theme of this project as well as those that don’t. I wouldn’t say she has a particular style as the scope and range of her work is so huge, but the attention to detail and symbolism seem to be ever present.

Karola Pezarro 

Other research

My pinterest board here includes a huge amount of artist research and other images that appealled to me on the joining and wrapping theme.

Rickie Wolfe

My research led me to an artist called Rickie Wolf who creates metal circular structures and fills them with enamel, paper, threads and other materials. I came across her (I think) on Pinterest and was instantly inspired by it as it fit so perfectly with the joining theme. I have not been able to find out a great deal about the artist except she is from Seattle, USA.She also paints, very abstractly, the shadows that her work creates which I found interesting.

Rickie Wolfe
Rickie Wolfe
Rickie Wolfe 

Sheila Hicks

An American artist known for her innovative use of weaving and sculptural textile structures.

Sheila Hicks
Sheila Hicks







[7] originally from- Living with Art, Mark Getlein


Tutor Feedback for MMT Part One- Surface distortion

Summary of tutorial discussion

Demonstration of technical and visual skills, quality of outcome, demonstration of creativity

You have produced an experimental body of work here working through the techniques in a creative way , well done. Your samples have a satisfactory level of quality.

You have played with lots of ideas, techniques and materials. Your samples are sensitive and you have a delicate touch to your work.

You have considered the tactile quality to your papers, you have taken care to document how each paper tears in a different way. You notice details and document them.

In your sketchbook you have some beautiful drawings and photography, highlighting the textures, details and colours of your samples. The punched hole sample you photographed in a way that the holes looked like little jewels. Photographing on a lightbox highlights the folds and crumples in the samples.

You are interested in decoration and pattern and allow this to come through in a sophisticated way without creating pictures. Make sure you keep exploring in an open ended way, experimenting and trying different iterations of an idea without trying to resolve it.

Context, reflective thinking, critical thinking, analysis – 

I found your learning log difficult to navigate.

Assignment 1 had some of the same text as coursework 1 part 1. I looked through both which took a long time but was confused by the order of posts etc.

Please could you make the font smaller, make the text body wider so more text is across the page , this will allow me to see more on each page before scrolling on.

Can you start with the beginning of the assignment and follow on with each project and end with a reflection. 

( I am not sure what was said to you for ATV so please let me know if I am confusing you with my ideas ?) 

Response: The blog template I am using is the OCA template which is recommended and what I used for ATV. It limits my options. I think I have managed to change the font size to smaller, but it seems to change it when I publish the post. Also, the standard blog layout is reverse layout- so the most recent posts are seen first- I also don’t know how to change this format. I think its either a matter of find the post through the tags or headings or just keep scrolling back to the beginning of the Section- If you know how I can make these changes then we can discuss during the next tutorial. I have spent several hours trying to make the changes outlined but have been unsuccessful.

You are reflecting well but remember to be really critical with your analysis of your own work. What has not worked in addition to what has worked, why, how, etc…..

You are photographing your samples well and i can see you manipulating them in your hand which i can see is giving you more ideas. This is good. 

I wasn’t too sure what was the sorting stage for you ? maybe I didn’t understand this. I think it would be good for you to focus on a few samples in your log that really worked for you and explain why.  What is it that you have responded to in these samples. 

Well done, I look forward to your next assignment.

Tutor nameJenny Udale
Date12th nov 2019
Next assignment due12 feb 2020

Conclusion questions for MMT part one- surface distortion

How did your research into the work of artists and designers inspire and inform your practical work?

Whilst doing the research, some seemed irrelevant to the outlines of the project, but once I started making samples the relevance of some of the research became clearer. For example, the work of Mathis Bengson; I couldn’t see how his work would apply to any of the projects, Mainly because I was focussing on the materials he used, I think. But when I was cutting and tearing holes and layering them up, I could see the resemblance and relevance to his work. My own research inspired quite a bit of my sampling, for example, sewing leaves was inspired by Hillary Fayle and Susanna Bauer; sewing over plastic shapes inspired by Liz Sofields work of sewing over folded paper patterns. Sewing around and across holes inspired by Leisa Rich and Nava Lubelski. Looking at the shadows through my samples of the circles with burnt holes reminded me of Meredith Woolnough work- in the sense of the shadows her embroidered pieces make due to the way she mounts her work. The pinprick samples that I did were inspired by the sensory drawings of Gillian Adair.

The work of Jules Waibel really inspired me but in reality, I found the folding project the most difficult. Such precision and skill are needed to work out the folds and is something that I really didn’t have the logic or patience for.

Researching these many different artists gave me lots of inspiration to play around with different materials and methods.

Which techniques did you particularly enjoy, and why? If you found a technique frustrating or unsatisfying, did you try to overcome that feeling by changing how you approached it?

I really enjoyed the puncturing project. I found the piercing of the paper very satisfying and meditative. I liked working out a design and using different tools to create different sized holes. The work on the thicker mixed media paper came out the best, crisp, clean and aesthetically pleasing to look at and to the touch. The simple act of piercing holes created quite a striking image which I could see being framed over LED lights to enhance the pattern of the holes. The pieces were very tactile, and I enjoyed being able to run my fingers over the holes to follow the design. Although I experiment with puncturing holes in other materials, the paper was the most effective.

I found the folding and pleating very frustrating. Jules Waibel’s work inspired me the most, but actually folding accurate pleats and shapes was extremely difficult and frustrating. I went to visit a local artist who uses folding and pleating in her work, as she had an open studio, to maybe overcome this frustration and see a demonstration. The artist, Hannah George, was very inspiring and introduced me to proto-paper which she felt might make the process easier for me. I ordered some but I found that it didn’t. I still couldn’t get good consistent folds and repeating patterns. I did however manage to make some really odd shaped samples which were fun to try and draw. This was very disappointing to me as I would have liked to have created some geometrical, sculptural samples using this method.

Lots of the materials used in this section could be considered quite mundane and commonplace. How did your use of the techniques transform them or invest them with more value or beauty?

The cellophane I used was transformed quite significantly by crumpling it and placing fairy lights behind it. It looked almost crystalline in structure and the fairy lights made it glow so it looked like some sort of living, pulsating organism. I would have loved to have been able to fold the cellophane like Jules Waibel does for her lamps to create a jewellike structure, but that level of folding was a bit beyond my capabilities!

Placing the cut-out layers of copy paper onto a lightbox really enhanced the look of them. It introduced different shades of the paper and highlighted the overlapping cuts creating real depth to the piece. Without the light source these layers of cut-out paper looked insignificant. Again, placing coloured cellophane on the lightbox really brought it to life. Quite mundane seen on its own but with a light source behind it, it becomes quite special. The colours really pop and also the cellophane casts rainbow coloured shadows on surfaces when the light is shone through it. 

Crumpling plain white copy paper until it became as soft as fabric also enhanced the beauty of an otherwise flat sheet of non-descript paper. It became mouldable, textured, flexible and soft, totally changing its original qualities

Did your use of your sketchbook help you develop new ideas for samples? How could your use of the sketchbook be improved?

My method of working can be a little bit haphazard as I have fibromyalgia, CFS and some other mental health issues. This can mean my brain can jump from one idea to the next sometimes with no logical obvious pattern. I try to allow my ideas just to flow as I’m creating and then analyse them afterward. When I’m in the flow of creating and one idea is sparking another I don’t always want to stop and document or reason why as I find that stops my creative flow.

I do use my sketchbook to record work I have done and ideas for further development, things I would like to make if time were permissible. I do understand my way of working may not seem like a continuous stream of thought so I do try and annotate my sketches, so it gives them some clarity. Because things pop into my head out of order, I do a lot of sketching on separate pieces of paper so that they can be added into the sketchbook in the right place. I do this to try and create some sort of order to my sketchbook, as I don’t want to draw on the actual pages of the sketchbook in random order as that would be confusing to tutors and assessors. These add-ins are not afterthoughts, they are an integral part of my process. My sketchbook could be improved further by trying to keep everything in a linear order but unfortunately given the nature of my illnesses I find this quite difficult.

How effectively did you use drawing to explore the visual qualities of your samples?

I used different mediums to translate my samples into drawings, being sensitive to colour, line, shade, shape and texture. Some were completed with pencil so they could be shaded or softened to fully explore the quality of the piece; some with black liner pen to show hardness or angles; Prisma colouring pencils to blend tones and shade; brush markers for bolder, brighter colours and blending like on the cellophane pieces; white pencil on black paper to try and convey the delicacy of crumpled copy paper; rubbings using graphite to translate the feel of embossed marks, and black-and-white inks with different sharp ended tools to capture the lines and marks of the scratched materials.

How effectively did you use or manipulate colour within your samples? 

I used colours with some of the samples as I felt that colour was an integral part of the design for those, for example with the cellophane. Obviously, these wouldn’t have worked without colour. With the flap pieces, having colour behind the flaps enhances the design element. For some of the other samples I felt the materials more important than colour, so concentrated on that, using whatever coloured materials I had, after all they are samples and not finish pieces. Once technique is learnt and how a material responds to that technique, then colour can always be introduced later. Unfortunately, with time constraints I wasn’t able to focus on colour as much as I would have liked.

In conclusion, there were elements of this module that I enjoyed and elements that I didn’t. I had experimented with a few of these techniques in ATV- Burning holes, folding and pleating, layering, so I felt like I was going over the same things. I also did a lot of sampling of burning, melting and fusing materials in ATV so I didn’t include that section at all in this module. I enjoyed doing my own research of artists I found online to inspire my sample making and I think this gave me a really basis of design and material ideas to implement.

MMT- Part one- Surface distortion-Project 5 puncturing and stitching


Project 5 Puncturing and stitching 

Exercise 1 puncturing 

Again, I started with A4 copy paper to experiment with my various tools. I used a piece of foam to lay the paper on to punch through as none of the tools were going through the paper on a hard surface.  Some tools gave very neat, clean holes, others gave very rough edges when pulled back through the paper. Punching slowly gave neater holes, fast and random gave rougher marks. The pronged sculpting tool gave an interesting perforated hole and the curved sculpting tool gave little half moon type marks, a little like if you press your fingernail into a soft surface. The seam marker had to be used on a hard surface as it didn’t show up well when used on the foam. It gave very even, uniform, small holes and was easy to move in any direction, meaning I could create straight lines or curved with no difference in the way the holes came out. These holes could be used as they were or used as a guide to then puncture with something bigger.

A4 copy paper

On thicker material like card, the front of the hole stays smooth while the back is raised and rough. On the copy paper the puncturing tool tended to pull the back through to the front on removal of the tool from the paper, making it rough on both sides. The thicker weight of the card seems to prevent this action on the whole, giving you a defined front and back side. I found this helps when you shine light through the piece-the light will shine through all the holes, creating an image, whereas if the rough side has been pulled through to the front this often obscures the hole, allowing no light through. 

Black card stock and tissue paper

I experimented with tissue paper, which gave much the same results as the copy paper. Handmade paper; the holes were very hard to see, even with light behind it as the paper itself is quite translucent. The vellum was nice to work on. The vellum is sturdy so doesn’t buckle or crease when you are puncturing it. The holes are easy to see, light comes through the holes evenly and the rough side is very rough and defined, giving a really tactile feel which reminded me of braille. 


I tried puncturing medium weight plastic on both soft and hard surfaces with mixed results; some marks were well defined, others very rough and messy. I experimented on puncturing leaves. I used bay leaves from my garden as although fresh they are quite sturdy. I used a pin first and it went through easily, but the holes were very tiny. I then tried one of the sculpting tools but that kept tearing the leaf around the hole. Then I used my Crop-a-Dile (like a hole punch). This worked extremely well and gave small, crisp holes with no tearing and no roughness on the reverse side.

cardboard, handmade paper, corrugated card, vellum, plastic

I had a few small off cuts of balsa wood so decided to try piercing those. I used the same tools. Some worked better than others, for instance, the seam marker worked really well and although the holes were not going all the way through, it was easy to use a needle to make them slightly bigger. The awl and one of the drill bit awl’s split the wood when I pressed too hard, or tried to do the holes too close to each other. My crop-a-dile worked extremely well which surprised me as I didnt think it would go through the wood. It gave quite clean holes as well.

Balsa wood
Holes in deli paper made with a burning incense stick

Not sure whether this one should be in the puncturing section but I really liked the technique having used it previously in ATV. Also inspired by images on pinterest and works by Karen Margolis.

Work by Karen Margolis

I used a lit incense stick to burn different sized holes in white deli paper. The practice was very meditative, the result very intriguing, the burnt edges leave a brown rim and every circle is a slightly different shape. When layered up they seem to go on forever. When held up, the shadow cast underneath is really interesting. Reminded me a little of the embroidered works by meredith Woolnough, where she mounts them on pins on the board so you can see the shadow underneath. Progression of these samples could include adding colour, creating shapes other than circles with the burning, layering and mounting to show the shadows underneath.

Work by Meredith Woolnough

card, vellum, bay leaves

Thinking again of braille I wanted to do a recognizable image. Something that you could see visually but could also feel to get an idea of the design. I used the vellum as this I felt had given the best results. I drew 3 poppy seed heads. The large centre one I pricked first using a medium sized pin. I then flipped the vellum over and did 2 more with a smaller needle. This meant that the piece was tactile both sides. When light shone through it the image sort of glowed which was pleasing. 

White paper, inspired by the works of Gillian Adair

Whilst researching puncturing paper I came across the work of Gillian Adair who makes sensory drawings using pinpricks in paper.

Work by Gillian Adair
On paper and card. inspired by image of an Agate geode

Gillian’s work inspired me to have a go at some sensory drawings. I used various sized holes for different sensory experiences and I also did images rather than random holes.

Agate, image from Pinterest
Mixed media paper, front and back, inspired by an agate

The agate geode images on white mixed media paper worked especially well. The variation of hole sizes and placement really show up well when placed on a light box. The reverse side is very tactile and it is easy to follow the lines and make out the shape.

I enjoyed the puncturing exercise. It sounds silly but the sound of the different tools puncturing the paper when it was on the foam, was a very satisfying sound.This added to the sensory aspect of this exercise, not only could you feel the holes after they were made you could also hear them being made.

Exercise 2 stitching

Mixed media paper with stitch

Because I liked how the agate geode hole samples came out I decided to start with that shape again and then use different stitches in the holes to create the image. This didn’t turn out as well as I had envisioned it. Maybe it was the choice of colour or the stitches, or maybe there is not enough stitches but, overall, I was disappointed with this piece.

Bay leaves with flaps and stitches

I went back to the bay leaves I had punctured with my crop-a-dile. I collected some dried grasses from the garden and more leaves and had a play with stitching through the holes with the grass. This was ok, but some of the grasses kept breaking. Looking back, fresh grass would have been better as there would have been more flexibility and then if it had dried in place it would probably hold better. Not to be deterred i tried cutting some holes and flaps in the leaves and using embroidery thread to stitch the flaps down or stitch across the holes. The leaves were really easy to stitch onto, I had expected them to fall apart but they held up well. I like the contrast of colour from the front and the back of the leaf when the flap is folded over and stitched. I also enjoyed stitching across the circles in a ‘dream catcher’ style. I thought the end result was very effective. Further progression for these samples could include, different types of leaves, shape, colour and maybe making a hanging piece with all the leaves. Or stitching different leaves together in a sort of crazy patchwork sort of way.

Cardboard templates and madeira poly-

I still had all the circle templates left from the embossing exercises so I decided to work with these, joining the circles together and experimenting with stitch across the circles. I used variegated thread for more colour. This was another piece that I think looked better in my head! It reminded me of those wood and nail string art things you used to make at primary school for Mothers day or the like! Better card could be used and different thicknesses of thread if this sample was to be taken further. Also more experimentation with shapes and distance between shapes.

Plastic circles, folded and stitched

Inspired by Liz Sofield i tried cutting some circles and folding them and then stitching them in place. I did this on plastic rather than white paper like Sofield does as I wanted to see what it would like transparent. I used ‘invisible’ thread so as not to distract from the folded shapes. It is the white on white which makes Sofields work so attractive I feel. I don’t think I achieved the same aesthetic with the plastic although I feel there is scope for development- maybe using different coloured threads or different coloured plastics.. Also Sofields work is very precise with the folding and placement and as I discovered during the folding exercise, I just don’t have the patience for that precision!

Layered plastic with stitching inspired by Leisa Rich and Nava Lubelski

Inspired by Leisa Rich and Nava Lubelski I cut 3 layers of plastic and cut out holes in each piece. I used embroidery thread to stitch around and across the holes and then I stitched the 3 layers together on one side, creating a booklet style sample. I was really inspired by the layers of some of Rich’s work, being able to see through to the layers underneath, but obscuring those layers slightly with stitch and other embellishments. For me it created depth and made me feel like a secret was being slowly exposed.

Plastic, stitch and shadows

I am pleased with this sample, it is colourful, different and has lots of scope for development- playing with scale, shapes, colour, different materials. I like the shadow play as well, it reminds me of a spirograph drawing.

Looking back at work from previous exercises I stitched onto a sheet of crumpled A4 copy paper. I made ridges and used a running stitch with white cotton to gather the ridge a little, creating more crumples. I like the tiny little pleats this created and how these could be laid flat or raised. The shadow of the ridges also created nice tones on the paper.

Crumpled white copy paper and stitch

I then tried to recreate some of the crumpled lines with stitch on mixed media paper. I punctured holes randomly across the paper and then used mulberry silk string to make loop stitches that stood proud of the paper. The loops crossed over each other, representative of the crossing crumpled lines. The shadows from the looped stitches added more ‘lines’ onto the sample recreating the grey tone from the ridged sample above. I like how this has turned out but feel i could have done a lot more loops on it to really convey the busyness of the crumpled lines.

Mulberry string loop stitches, cross stitching and stitching into wood

I then wanted to try and recreate the grey tone of the crumples so I used squares of tin foil crumpled up, mounted on white mixed media paper and used silver wire to create the looped stitches this time. I do like this but think maybe it would work better without being mounted on white. I mounted it to show up the colour but samples could be developed using just the tin foil as the base.

tin foil and wire stitching

Again I looked at samples from the previous exercises to inspire stitch and made a little cross stitch sample based on the x-cut flap piece from exercise 5, project 2. All the crosses are white except for one which is red to stand out from the others. Very simple but quite effective.

Lastly I found one of the small pieces of balsa wood I had made in holes in and stitched into that. Care had to be taken not to break the wood between the holes if they were too close together, but the stitching was easy. Development of this sample could involve a larger piece of balsa wood, possibly with holes cut out rather than punctured and then doing the stitching around the edges and across the centers of the holes like I did in the plastic samples.


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