Judy Nolan
508658
Mixed Media for Textiles
Part 2 Joining and Wrapping
My sketch Ria Verhaeghe ZT
Work on Joining began in my sketchbook, driven by tutor feedback on Part 1 and inspired by work by Ria Verhaeghe (29 May
2015). What can a "join" be?
Research and ideas flowing from it were recorded in my
sketchbook. 31 May 2015
(included in sketchbook section)
Ye Sen Analysis No. 4
This "join" is a single trunk with material carved out.
Liza Green Tissue of Lies
Project 1 Joining
Exercise 1 Joining straight flush edges
p2-2h 6 June 2015
A series of joins were made between pieces of corrugated cardboard
using cocktail sticks, ending in destruction.
6 June 2015 (included in sketchbook section)
p2-3 6 June 2015
Plastic fusing samples from Part 1 were joined using multiple lacing and tying materials.
(Included in sketchbook section)
Eva Hesse
Contingent
Research on Eva Hesse strongly informed my work in Joining (7 June 2016). Her
work has remained a focus throughout the course and ongoing.
p2-4 7 June 2016
Exercise 2 Joining straight edges with a gap
Research continued in parallel with sampling. 11 June 2015 (included in sketchbook section)
Eva Hesse Metronomic Irregularity I
p2-6 11 June 2015
Similar in layout to Hesse’s work, but showing exuberance with colour. The base provides stability and a framework with a haze of colour
constantly shifting above.
p2-9 14 June 2015
Research on Lorna Murray led to joining by machine
stitching across a void.
Research on Lorna Murray 14 June 2015 (included in sketchbook section)
I saw her work in the 2nd Tamworth Textile Triennial GROUP Exchange exhibition (22 May 2015). The potential for impact in presentation of multiple
elements became a focus during the course.
Murray led to joining by machine stitching across a void.p2-9 14 June 2015
Exercise 3 Joining curved edges
p2-15 18 June 2015
A join of curved edges in cork and balsa wood was created following pre-determined rules for stitch placement.
The result is visually disruptive.
Unless a jarring note is sought, in most circumstances placement based on ongoing aesthetic choices, as shown in the later drawn version, would be preferred.
Exercise 3 Joining curved edges
p2-18 19 June 2015. This sample used p2-14 (18 June 2015) as a base.
p2-19 19 June 2015
Thoughtful tearing and corrugated cardboard make a return.
More and more I was using sketching to see samples. 19 June
2015 (included in sketchbook section)
In her feedback my tutor mentioned Anthony Caro in relation to p2-18. This
sketch, focusing on internal space, is based on his work Emma Dipper. 4
September 2015 (included in sketchbook section)
Exercise 4 Overlapping edges
p2-21 22 June 2015
A visually pleasing combination of materials, with contrasting surface but linked with the circular motif. I wanted to make the
overlap of the join apparent.
p2-24 22 June 2015
This join of two quite different materials created a visually
interesting combination, but was very unstable..
I revisited this idea in the extended join sample.
22 June 2015 (included in sketchbook)
p2-23 22 June 2015
Could the different material properties discovered in Part 1 be used to interesting effect in a join? Heating the organza effectively gathered the crepe paper.
Exercise 5 Forming corners and angles
p2-27 27 June 2015
Claire Brach Sketch p2-26
Manipulating fabric sample
Work by fellow OCA student Claire Brach was sketched, then interpreted in a hinge join. 27 June 2015
Extended sample 2 July 2015
Research on the joining and thought behing Erin Manning's work
suggested dress as an extended sample. 29 June 2015
Multiple join samples were brought into this extended sample. For
example p2-18 becomes a shoulder ornament and the failed p2-24 is
reworked with a change of material.
Project 2 Wrapping
Exercise 1 Straight wrapping with threads
p2-42 16 July 2015
Wrapping with stiff, thin plastic "horsehair" allowed claiming of surrounding space.
p2-57 16 July 2015
A neat braid in complementary yarns was reminiscent of binding on a japanese sword.
Tachi fittings
p2-58 16 July 2015
Using a 3D pen plastic filament was wrapped around a spoon then
removed to create a hollow form.
Shi Jindian Beijing Jeep’s Shadow is an elaborate wrapping of space
and form.
Wrapping research 31 May 2015
Exercise 2 Wrapping with materials and threads
When researching the work of Christo and Jeanne-Claude I "wrapped" St
Mary's Cathedral Sydney using a photograph and acrylic paint. 18 July
2015
p2-6122 July 2015
p2-65 22 July 2015
Different wrapping could compliment or disguise a water jug.
21 August 2015
p2-68; p2-69; p2-70 22 July 2015
Wrapping was combined with heat distortion from Part 1 to provide
another means of wrapping space.
Sketch 22 July 2015
p2-72 22 July 2015
Breaking the wrapped vessel continued the idea of deterioration,
change, absence.
21 August 2015
Exercise 3 Uneven wrapping
Research on Judith Scott and my reactions to her work informed
my uneven wrapping samples. (17 July 2015 and 28 July 2015).
I used oddments of computer components to wrap.
p2-73 28 July 2015
Torn organza, cabling and "horsehair" plastic created a quirky, colourful
wrap.
Included in submission package.
p2-74 28 July 2015
A combination of wrapping created a strangely pregnant column.
Capturing and enclosing space remains a key interest.
2 August 2015
p2-78 28 July 2015
Yarn wrapping brought the textile back into mixed media in an interesting
variant of a standard yarn auditioning process.
2 August 2015
p2-76 28 July 2015
2 August 2015
This sketch of p2-76 became the basis for experimentation
in monoprinting in Part 4.
Additional: p2-79 wrapping space
Both research and sampling I noted the power of wrapping to make the viewer aware of something otherwise overlooked, and to claim space.
Stretching my interpretation of the exercise requirements, I explored these ideas by "wrapping" the front porch based on shadows over the course
of a sunny winter’s day. Shadow boundaries were taped and photographed hourly. p2-79 31 July 2015
Jim Lambie
Zobop 31 July 2015
Veronica Herber
site shift 31 July 2015
Tess De Quincey 31 July 2015