It was really encouraging to receive such positive and constructive feedback from the initial proposal and it’s now with acknowledgment I can get on with it.
There a few additional research methodologies I need to understand and apply to the work and these include ethnographic and collaborative methodologies, Both of which will be interesting aspects to work through within the global collaboration. With this in mind I am current testing the fabrics to see which three I want to send out. I haven’t decided whether they will be three different fabrics, and why three? Well three is the magic number and feel right but more specifically I have two plans for what I want to do and with a third piece there is room for something else- which I expect will unfold as the work develops. Better to have more than I need than to decide later on I need more and not have the resources.
The next steps for this in practical terms is to write the project brief for the participants and request their postal addresses. This will need to include all the aspects of what the projects aims and objective are along with ethical and data protections, permissions for use within the scope of the project and permissions for its use beyond this. I also want to make sure everyone is able to provide a short statement about their practice and work.
As part of recent research I’ve been looking at who my influences are and what their work is like, how might my own work be similar or dissimilar?
At the moment I’ve been looking at India Flint and Irit Dulman as two exemplary Botanical printers and leaders in the field.
India’s work will be a significant part of the research, and her process and methodology for generating her fabrics. Describing herself as a story teller, maker of marks, forest wanderer, tumbleweed, stargazer, botanical alchemist, string twine and occasional poet. With this list of descriptive words there’s so much to learn and to parallel with the work I have been developing. Such a kindred spirit on the other side of the world. Her book Eco Colour will be a good place to get lost and also the commentary on her blog which will offer more insight into the wandering of her research, teaching and fabric designs.
Irit Dulman has a very different style and seems more design led. Her exquisite and 3D designs are inspiring and aspirational. There is much to learn from her writings on her blog and from studying the designs she’s created on fabrics for clothing.
For both my own development and for the global collaboration it will be interesting to see how the botanical prints I receive or create lean towards one style or the other.
Within Fashion design there are two ares to explore at the moment. The work of Becky Early and the latest Issey Miyake collections – in a similar way there’s a distinct style choice between the work. With Becky’s the leaf is crisp and clear, whereas the Miyake has a more painterly and incidentally pattern.
Issey Miyake Spring Summer 2019
With regard to the botanical printing from my location this work will involved researching botanical printing and illustration, looking at the spotters guides from my childhood as inspiration for creating a reference of botanical printing. Botanical printing and what mainstream understanding is.
Finally there’s many contemporary patchwork and piecework textile artist using narrative to create and these will inform the patch work I develop and the patchwork piece I curate.
A collection of inspiring quilts by India Flint, Annette Morgan and Micheal James offer a good starting point for discussion and understanding. Its also important that there’s a male example here adding a bit of balance to the work.
There are many areas to investigate from traditional patchwork to contemporary patchwork, surface design and pattern, narrative and story telling.
Looking forward to learning more about these influences and seeing what else is out there.