Liz O' Connell
Updated: Sep 18, 2020
This blog post marks the beginning of the final module of the practical part of the MA where I have found a framework for my practice. It explores both the technical areas of glass-making and digital drawing so as to look at textiles and gender with their analogies of spinning, weaving, and the daily repetitious cycles of women's lives and labour.
Art and sculpture made from textiles is able to transform and elevate what, under normal circumstances, might be considered as merely ‘domestic’ and ‘familiar’ into an art form that is serious. This sea change in perception and critical appreciation has been mainly due to the pioneering work of textile artists active during the 1960s and 1970s.
I have been looking at embroidery online at the V&A (Victoria and Albert Museum) website, and the online textile, art, and historic records at the British Library website. I'm particularly interested in improvisation and how this manifests itself in craft, in weaving, and in embroidery; the small gestures and repetitions.
As already intimated, my final pieces will engage with a textile and craft narrative. The biggest impact on my thinking has been the meaning of making, the practical use of technology, and the integration of these into a synthesis of craft and glass.
So, this week’s exploration is more drawing and weaving - creating a state of flux for more sculptural and interactive work.
After starting to draw on the iPad, my tutor alerted me to Kevin Petrie’s work on printing and drawing. The link is below.
Images and decal tests.
Thread-layering in glass and collaging/fabric samples.
Artists' inspiration: Ellen Gallagher and Cécile Dachary.