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 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


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