Feedback From Family Member After Flicking Through My Sketchbook But Also Largely Focusing On My Finalised Samples. 

Which Samples Are You Drawn To, Which Would You Like To See Explored Further?

>Sea Anemone Sample

>Shammy Leather Sample 

>My Half Printed Half Sketched Sample 

>Microscopic Rotifer 

>Rust printed sample ( Simple)

> Rust printed  sample ( Painted and stitched)

Moving To Outcome Development, Which Samples Would You Choose To Explore, Why?

> Microscopic Rotifer - Unique, in shape form, colours. Can easily see It transferred onto the body. 

> Simple Rust Printed Sample- “Theres a subtly to the sample, a sophistication. Immediately see it as a print that could be taken to a garment and placed on the body. I love how the fabric has naturally creased. I particularly love the process behind making this sample. Natural Hard lines and shading have been created through an entirely natural process. These lines appear to be subtle mark makings almost like cave man marks”. The way the material has reacted after going through this process also draws me in. The naive stitching continues to give the sample this ancient look - iron age , a remnant of cloth which has been discovered.”

>Rust Printed Stitched sample with added paints - “ Defiantly my favourite sample, again the muslin is a great fabric to have used. Your investigation appears to work really well with this fabric, giving it a very natural look. I adore how the fabric reacts, the colour helps the fabric appear manipulated, bringing the texture and colour out in strengths. The colour pallet complements the sample well, its very natural tying in with the rust.” 

“I also love the stitching you've applied, you have created a natural “lesion” (a region in an organ or tissue which has suffered damage through injury or disease, such as a wound, ulcer, abscess, or tumour.) * I felt this was a very interesting observation, my attempt to create samples based on my research of “living” microscopic beings I felt had paid off, because through my stitching she had observed a section which appeared alive to her. 

“This gash within the foundation of the fabric, adds to the idea you have forced trauma on the fabric through your manipulation.”

>Flowery Sample - “It’s different to the others, I love the subtlety different fabric ground - cotton” I love the marbling look and that you've emulated. I can see you have almost blown up the material and manipulated. The sample had the same qualities that had attracted me to the others, but still different - different method, ie:  the bleaching process.” “It would go very well with the Microscopic Rotifer Image due to the same colourings.”

> The Sea anemone - “Again I love the muslin, clever use of materials (sea sponge), the rust print. Again theres the “gash” motif, however these are more like tendrils ( something growing - like the shoot of a plant).” 

Hussein Chalayan - The Tangent Flows, 

Chalayan, is known for his grownbreaking methods of combining unconventional materials and processes. The Tangent Flows consisted of a series buried garments that were unearthed just before his show.

Within this collection Chalayan combines the textiles with the process of oxidation. When oxygen combines with an element, it changes the appearance of the of the element. When iron reacts with oxygen it changes to rust. 

The collection consists of garments that appear to be decomposed and cotton showing early earth stains in a red rusty shade. The textile used was silk that Chalayan had buried with iron fillings in a garden six weeks earlier. With this he was showing the audience how quickly fashion dies and how easy it is to recycle. The process of decaying is something that can be very beautiful. 

The structure of the garments are simple yet free spirited. Almost as if they have walked out of the earth. 

Whilst creating this collection, Chalayan has focused more on the process than the result - which I believe is very relevant to the particular process of research I have been taking. This has meant new and unpredictable forms have been created.

Iris Van Herpen 

“I don’t see a difference between architecture and fashion” “They can really talk to each other.”

Herpen is a dutch fashion designer regarded as one of the most talented and forward thinking creators who continuously pushes the boundaries of fashion design. She’s a former ballet practitioner and has created costumes for the Paris Opera Baller and New York City Ballet. Herpen has also been hailed as a pioneer in utilising 3D printing as a garment construction technique. Herpens interest in multidisciplinary approaches to creation goes beyond fashion. She often collaborates with architects. She aisles shares a high interest in science and technology. (Particularly relevant within my project)

“The body and female forms are my canvas to visualise the unusual shaping.” 

“Within my designs I search for hidden beauty at the intersection of precision and chaos, art and science, artificial and the organic, that are blending into infinite hybrids. 

The most interesting fact about her, which I feel is totally relatable due to my background as a classical ballet dancer. Is …

“One of the most influential things in my life has been my classical ballet practise. Those years of dancing I learnt so much about the symbolic relationships between the mind and the body. The transformation and the evolution of shape.”

The textural image I focused on today, was incredibly chaotic and with visible shapes from the negative space within the tagged fibres I can make out. I decided this was the perfect opportunity to bring in my shape menu part of the experimentation as I would replace these visible yet interesting shapes with the shapes from my shape menu. When developing my sample, I also decided to use my new method of Ink and bleach together to create the visible chaos the microscope picked up.  

The sample may not have been my most successful, however it was great opportunity to consider bringing in my shapes and what went wrong. How could I bring it into another sample to make it more successful? 

Today was my first day of experimental making based on one of my textural images from my earlier experimentations, which I placed under the microscope. It is also the first time I have begun to make samples influenced by my final colour pallet. Within my experimental research, I made connections to similar textures which is evident in some of my samples. One in particular is influenced by slabs of caramel which is incredibly similar to my original microscopic image. I revised earlier methods I had experimented with including my rust printing however decided  to try other chemical reactions in the hope I would hit on something interesting. I decided to experiment with ink and bleach to create the naturally worn and stripped away texture of rust. I played around with the right consistency of water to bleach in order to create various similar shades which would blend into each other, appearing more authentic. 

After creating my digital mosaics yesterday,  I spent sometime this afternoon exploring the colours with various yarns, paints and materials- connecting them by colour. I also considered words I would use to describe these colours. For one particular page which I have photographed to include within my research, I collected the words...

"Mirky" , "natural", "cloudy", "scratched", "cold", "warm","morbid", "dark", "dense".. 

Why is my colour pallet successful?

The reason I find my colour pallet successful instead of just including random colours is because it captures the underling natural element within my project. Many of the textures I have been exploring and placed under the microscope have been natural or have been the result of a living chemical reaction which I believe gives it an element of being natural. For instance my snake skin under the microscope- the colours revealed are earthy and naked. Similarly the rust I have been making naturally has an earthy colour which feels natural, it would be bizarre and not feel right if the rust came out bright blue or purple. Similarly, although the PVA and ink aren't natural textures the chemical reaction between them both leaves a burnt dark red and warm yellow, again very natural colours reminding me of the earth or sun.

One of my favourite samples to admire under the microscope yesterday was my most recent sample - the reaction between my PVA and Ink. I used both the X4 and the x10 when focusing on particular areas. I found it fascinating that my sample under the microscope  resembled  shape very similar to a "Rotifer" - (A microscopic being) which I had looked at earlier within my project. I also love the fact I've had the opportunity to zoom into the heart of a live chemical reaction. 

Whilst using Fortismere's Microscope, I learnt the basics of preparing my microscope and the instructions for using powers X4, X10 and X40. After setting up the microscope and preparing the slide I began to place each of my previously made samples and experiments under the lens. Each sample appeared totally different but equally as beautiful in their own way. I was so intrigued that the eye of the microscope can make something I would ordinarily look at, completely different. Each of their textures are so intense and exciting, incredibly inspiring to both draw and make from. 

After placing my blown up A3 on my wall to act as a giant moodpboard, I began visually to make connections between the textures that had all caught my eye. Similar colours, textures, shapes... I found this really useful as when it comes to developing more definitive samples, looking back at the shapes, colours... that initially grabbed me, will influence and help me decision make. 

After the exhibition I decided to purchase my own mushroom and explore printing with it. I also dissected the vegetable to consider the delicacy of its various textures. 

The most interesting and relevant piece of info I took away with me after the exhibition came after seeing the mushroom chair by Tom Dixon. I love the natural texture of dried mushroom leather. It always reminds me of a corrosive/ rust like texture which I explored a bit earlier in my project.I would like to continue making samples inspired by elements similar to this particular texture. The idea that both mushroom are a living organism and the act of rusting - is a alive and living reaction.

"I construct abstract form "fragments" to highlight the beauty of found in the processes of ageing and decay.The core theme of my work is colour texture and surface." After mentioning my found interest in rust and decay after looking at micro surfaces, my peers thought Hotchkis would be and interesting artist for me to look at. She too is interested in "natural elements" and sees "perfection" in the insignificant and overlooked.

She works with print and stitch - her textures and colours are exaggerated and help reveal the complexity within the images. Each of her pieces evolve organically but are built up of layers of print, cloth, paper and stitch into 3 dimensional abstract forms.

"I am a contemporary artist working with mixed media, acrylic and abstraction." 

She is drawn to mind media because she can draw and paint simultaneously switching from one medium to another as the layers transfer the piece. In each of her pieces she used a sewing technique called free motion machine embroidery on top of painted papers and then incorporated those pages into collage. ( This is something I would like to try when portraying my mundane zoomed in objects) 

"embroidery is permeant with the appearance of fragility". 

I personally love the abstraction within her work and this element is defiantly something I would like to carry over to my own work, I will be experimenting with collage and embroidery. 

Within my research I have started looking at rust like textures after looking in detail at one particular research image of a Antique bronze specimen which was in the process of corrosion. I have therefor been looking into the beauty of decay and erosion. I found the book "For The Love Of Old" which throughout does just this and looks at the beauty of the faded. "I love rusty, chipped, frayed , mended, messy, cracked, faded, patched, peeling, scuffed and faded things." says author Mary Randolph Carter. 

The book covers the eroded textures of all things from nature, to everyday surfaces, to shoes, to toys to garden ornaments. I personally read the book and was convinced that "neglect can create beauty". I feel like this has opened a whole subject matter I would love to explore - decay of the "damsel in distress". I worry that it strays to far from my original idea of Micrology however. 

After discussing my found interest in "micro" surfaces and the Boyle family with my mum, she mentioned that she has researched a similar topic during her time on textiles BA and dug out her photo book of found surfaces of interest. Often corroded or rusted areas I found their natural textures really beautiful. She then recreated these textures with paint and other sourced materials onto clear surfaces. 
I love that within a large surface your eye can be drawn to one particular part which tells a story and is aesthetically pleasing.

Continuing with my interest of these tiny micro surfaces I looked into the Boyle family who are responsible for a series of works centred around their "Journey To The Surface Of The Earth". Mark Boyle began in the army and Joan had studied architecture. From very early on their children gradually got more deeply involved in their parents work after doing bits here and there. 

The Boyle family aim to make art that doesn't exclude anything as a potential subject. This has included earth, air, minerals, water creatures  and (excitingly) even electro microphotographer. 

Their search as a family is to find out if it is possible for an  individual to free him/herself from conditioning and prejudice. To see if it is possible to look at the world, or a small part of it, without being reminded consciously or unconsciously of myths and legends, art of the past or present, art and myths of other cultures.

I find it refreshingly interesting to discover other artists who take a "micro" area of a larger surface to explore. 

Whilst away from home this weekend, I haven't had as much of an opportunity to attend any galleries or do library research however I decided it would be a good opportunity to look at textures whilst I'm out and about and use a lense to zoom right into them as if observing a microscopic object/ being. I have found this a really fun experiment as I have looked at the most mundane objects and zoomed in so far their original form/ purpose is unrecognisable.

I aim to create a collection of these images and perhaps make markings on my favourite.  

Whilst doing this task  I've really discovered the how fascinating it is to observe surfaces in very small sections and with a fine eye. 

I thought it would be useful to look at an older addition of a book displaying microscopic elements. The living body book was a texture book my grandfather was given during his time as a physical instructor. Because the tools we now use to observe microscopic elements are so advanced it is interesting to observe how within this book all cells are presented through illustrations and not digital images. 

The book did however present beautiful illustrations of blood cells in development. It also contained an illustrated and annotated map of the tongue, which although wasn't a microscopic image I did find the detail of the nerves beautiful. It is amazing that each visible shape is aesthetically pleasing however also contains a purpose. 

Mandy Barker is an international award winning photographer who's work involving marine plastic debris over the past 10 yrs has received global recognition. Working with scientists she aims to rase awareness about plastic pollution in the worlds oceans. 

"Beyond Drifting" - Imperfectly Known Animals. 

Plankton form a diverse group of microscopic marine organisms living in the water column. Presented as microscopic samples, objects of marine plastic debris, recovered from the same location, mimic Thompson's early scientific discoveries of plankton. Movements of the recovered plastic objects, recorded in camera over several seconds, represent the movement of individual plankton in the water column, which also parallels with the planets that have an apparent motion of their own.'Imperfectly Known Animals'. The book uniquely captures our changing times along with both past and present research.

This artist I found particularly fascinating due to her interest in environment concerns. I have been inspired to consider the types of materials I use to recreate my microscopic samples, in order to communicate the importance of sustainability. 

I again felt inspired by the concept I have touched on after reading this book. Discovering other elements that would usually be invisible to me such as pollen and other aspects of the flower and observing their beauty for the first time is really exciting. The bright colours and variety of shapes that nature creates in truly remarkable and from a textile point of view incredibly rich and perfect for sparking ideas of various swatches/ samples.

Another artist I was lucky enough to discover whilst digging around was American artist Klari Reis. She was born in 1977 and around the time she received her degree from her London Art School, Klari Reis was diagnosed with Corhns disease. After undergoing a battery of tests she developed an interest in these results especially in the ways her blood would react to different pharmaceuticals within Petri dishes. She began painting colourful representations of her test results using multiple mix medias and aluminium boards. 

I found Reis particularly inspiring as she had managed to take quite a devastating scenario and create positive and beautiful outcomes with it. 

When researching into artists that had followed a similar concept to me I discovered Bev Hisey a textiles artists from Canada and her medical series "Dirty Dishes".

Dirty dishes is a series of hand tufted rugs by Hisey that were part of the elegant installation displayed at MADE. The small round rugs resemble petrie dishes under a microscope. Hisey based her patterns on viruses and bacteria. I found it interesting to learn that she leaves spaces thread bare to capture the decay brought with diseases like influenza, HIV and SARS. Yet despite these rugs having a dark concept and resembling various diseases, the rugs especially in a group are beautiful. 

I decided to return to my word "Microcosm". - A Microcosm of society is a a small society, place or activity which has all the typical features of a much larger one and so seems like a smaller version of it. Microcosm means "Small world" and in the thought of the Renaissance, it was applied specifically to human beings who were considered small scale models of the universe with all its variety and contradiction. Its opposite is Macrocosm. They are both aspects of a theory developed by Ancient Greek philosophers to describe human beings and their place in the universe. These early thinkers viewed the individual human being as a little world who's composition and structure correspond to that of the universe.
I went further to discuss The Body Politics. Plato discussed his model of an ideal city in order to explore the nature of the human soul. The inter structure is based on hierarchy. - kings and philosophers at the head, warriors at the breast and workers at the belly. - The Body Politic.

I felt like I got a little carried away with this idea and allowed it to become too philosophical and had to trace it back to my original idea. However I really enjoyed researching this idea as far as I did.

Karen Kamenetzky. 

"Karen Kamenetzky’s art dazzles the eye, the skin, the mind. Lush color, sensuous textures, and dynamic compositions combine to form organic abstractions of subatomic life. She fuses intense, unexpected color combinations with forms that are deployed in sometimes rhythmic and other times syncopated patterns. Stitching becomes the top note of her jazzy riffs on the microscopic structures of our world."

Kamenetzy's biomorphic fibre art. Blown away by the technology of the electron microscope. Kamenetzy calls her fibre art "invented biology" and is heavily inspired by microscopic and cellular imagery.

Researching the importance of how organisms are a vital part of manufacturing biodegradable textiles. 

In order to combat the ill effects of "fast fashion" designers look for more suitable sustainable methods. It may be a small group of innovators but it continues to grow as they turn to the genius of nature in attempting to stop wastefulness and pollution out of fashion. They are using live organisms to grow pieces of biodegradable textiles, creating environmentally friendly materials in the laboratory. Researchers believe that some of tomorrows apparel could potentially be bioengineered - made from living bacteria, algea, yeast or animal cells. They would then eventually break down and be smartly thrown away. 

Designers have used bioleathers, indigo leaves for dying and alga based yarns.

Notes from my research on Micro Animals, Microbiology, Microscopic Anthropods. 

Micro animals- are so small that they can be visually observed only under a microscope. 

Microscopic Arthropods include Copepods and certain cladocera. Another group of microscopic animals are the rotifers, usually found in fresh water. 

Copepods- Are a small group of crustaceans ( crab like) found in nearly every freshwater/ saltwater habitat some are planktonic some are benthic ( living on the ocean floor). Copepods are used to communicate information about ecosystems and the impact human activity has on an ecosystem. 

Key Words :

Microcosm- A community, Place or Situation regarded as encapsulating in miniature, the characteristics of something much larger. - I love this definition perhaps investigate this idea further. 

Microfauna - The study of small beings invisible to the natural eye. 

Micrology - the study of microscopic objects. 

Rotifer- Microscopic creatures commonly called wheeled animals. 

Joseph Cornell was an American artist largely responsible for the creation of assemblage. Spending so much of his life in isolation and depending mostly on  his imagination. He was self taught and used assemblage of found materials and objects to create various scenarios. He was largely influenced by surrealists and created his own unique style. He didn't find clarity through mark making or sketching so assemblage was his preferred way of portraying his emotions and imaginative scenarios. 

My next museum to visit was the Grant Museum Of Zoology. Following my interest in the raw medical science I had seen at the last exhibition. I found this particular visit the most relevant to sparking ideas and inspiration. I felt uncomfortable but weirdly enjoyed the reaction the pieces on display was able to give. I was initially struck by the many tiny jars of mice bones which have been used throughout the years for various experiments. My attention was also drawn to the multiple animals who had been preserved for many years for the benefit of science. Noticing how the skin and bones of the creatures had changed through age was disgustingly fascinating. 

Despite being intrigued by most of the museums contents the most memorable to me was the unusual beauty of the multiple Micrarium display. It consisted of 20,000 microscopic slides documenting the tiny size of some of the earths species - 95%. The multiple colours and shapes of these tiny species were strikingly beautiful and already appeared similar to textile samples. 

The most emotional piece I saw whilst at the exhibition was the statue by Marc Quinn of a pregnant Alice Lapper. He chose to do multiple statues of Lapper as she to him is an example of someone who has overcome their own circumstances. -  "A different kind of heroism". The statue celebrates the beauty in a different kind of body and the fact it was put on display in trafalger square has been hugely empowering to disabled rights in the uk.