EDAM tutorial - a lot to think about

On Saturday 9 March, I had my EDAM 2nd Term tutorial with Ute Kreyman. Filling in the questionnaire   and talking through how the drawing course was feeding into my art practice gave me a lot to think about.  I took in the cloth I'd been working on when on  sewing retreat in Glenthorne and  photos of both my drawing and textile work  as a basis for discussion 

I'm really enjoying the challenge of EDAM, learning to love charcoal and working on large scale, moving away from   representational to more abstract, reacting to layers and marks rather than preconceived pictorial idea.

Of particular value/interest   in regards to composition  and large scale mark making was large scale drawing  with Tony Hull,  starting off  with blind drawings of object,  building up layers , drawing wrapped object   then disrupting  what had produced, adding extra paper. 

 I started off by showing past work  in quilts – square/rectangular  format as  I will be working on 2 similar  pieces  for group exhibition at Creek Creative, Faversham in September . 

 With   my most recent piece ‘Wind Me In  The Sea’  ( currently exhibited in  7^th European Quilt Triennial )  I've  been looking  at  working in  a more 3D  format , double sided, continuous loop. 

          I'm interested in recording journeys/mapping ( carrying out research both online and in books - I received several for Xmas! ) and  was am inspired by the Oceania exhibition at RA, the  teachers notes on Marshall Islands map and John Pule. 

 Besides my drawing practice ( sketching every day  as well as the EDAM work) I talked about the 

importance  of ‘ Mapping a Sense of Place’  with Mathew Harris -  going for a walk , collecting

 objects, recording  memory of    walk   in inks on paper/ primed calico strip . Blind drawing of 

objects collected then 6 tasks in   a chosen ‘space’ (looking at line, repetition, shadow etc ) and 6

 processes ( paint, stitch, collage , etc) order  selected using dice. 

I'd tested out and repeated  the procedure   in my  recent   sewing retreat in Lake  District  with addition of making  quick sketches  along  walk as aide memoire  ( as well as taking photos ) .I also made detailed drawings of some of the objects I collected. 

This process has a lot of potential that I wish to explore further in local area ( eg walk to station)

 In moving towards a more sculptural approach Ute suggested I could: 

-  look at   work of David  Smith -  sculpture with sense of drawing  eg Hudson River Landscape 

( which was one of my favourite pieces in the Abstract Expressionism exhibition at the RA )

-          Try using fabric  manipulation , use like clay or wood , keep small

-          Drawing in 3d  with mark- making  ( strips of fabric/ thread)

-          Collaging  2d to 3d (colour compositions)

-           Reference  the intermediate drawings  of wrapped object from large scale drawing

  

 I've always been interested in ceramics, old pots and pot shards , “ the hand of the maker “

 (  and attempted  a 3D piece in fabric before (‘Taplow Vase’)  with mixed success!)   

We then  discussed  what I found most  difficult and ideas for the 3rd term individual project and exhibition . I  always have too many ideas,  and difficulty deciding what to concentrate on  ( Advice that can only understand 1 message in 1 piece, the rest  should be noted in sketchbooks )

The exhibition at RK Burt  will be  ‘Works on Paper’  .

As I  wish to  continue with ideas of mapping , I need to investigate how  paper can substitute   for 

fabric in  ‘cloth’   pieces ( concerns  about difficulties in stitching paper as it tears) 

I feel a shopping expedition coming on  to see what papers are available from Shepherds and test out 

properties!

Transient: Prism at Hoxton Arches

Mary Gray ' River Ripples' 

After sketching  at the Museum of London , Margaret, Jo and I  continued by bus to Hoxton Arches to see the latest 'Prism' exhibition 'Transient'. I last saw an exhibition of their work in 2014  at the Mall Galleries and then at Knit and Stitch  and before that in 2011   and  in comparison to the excitement I've felt before about their work I was  a bit underwhelmed.   The  combination of the exhibiting space which felt a bit gloomy and being away from the centre  of town  and therefore   few people  didn't help  but it was  probably more to do with my own tastes having changed and developed. 

Having said that there were some pieces of work I really liked, no surprise that these were mainly ones that  chimed with my own work and interests.  

I loved  how Mary Gray had captured the watery qualities in her piece ( and the  shibori gathering added an extra dimension, definitely something to  experiment with ) 

Ali Brown 'Amulet' 

Ali Brown has recently graduated from an MA in ceramics ( having switched from a textile course)  and her work was stunning, the textures imprinted from fabrics, the use of unusual materials. Amulets are  something that interests me a lot and  having done ceramics in the past ( I have a box full of tiny thumb pots in the garage beside those that Ian has chosen to put in the lounge) so these pieces really resonated with me.  I look forward to seeing what she does next. 

Julianne Long 'Erosion'

 I had a chat with Julianne about her work based on long term observations of weathering of a large piece of timber on a beach. I can relate to that  with my work on breakwaters! Her sister had sent her small shards of  timber as they disintegrated  and she'd  displayed them with embroidered rubbings of the larger timber.   Having  been reminded of the joys of 'frottage'  when at Lund Studios , it makes me want to rush back to Birchington armed with crayons and colour catchers ! 

Jeryl Church 

With more of an interest in 'artists books' and book structures , I was intrigued  by this 'Tunnel' in dyed and burnt organdie ( reminding me of the telescopic  paper mode of the Thames Tunnel  in the Museum of London (Docklands )

This sculptural 'hat'  made of electric cables combined  with  a much larger drawing of the sculpture was interesting, the  change of scale  and medium making you look more  closely  

Katherine Paton- King 

Anita Bruce 'Loss' 

My favourite and the exhibit with most meaning for me was 'Loss' by Anita Bruce. Based on the IUCN Red list of extinct  and Critically Endangered birds, she had embroidered the names of these on varying weights of  black and grey  fabrics ( including organza). What made it for me is that ,for once, the 'unconscious side' of the back of the stitching was integral to  the work, text  losing meaning, turning into marks. 

 During my botanical career I worked mainly on threatened species and was  a member  of several specialist groups of the IUCN  so this work carries even more significance for me.  

Prints, Vessels and Waves

Before my last  Advanced Painting  class on Friday , I went to the prints exhibition  room 90 at the British Museum to see 'Touch:Works on paper' by Maggi Hambling.  But I got distracted by the  selection of works  in the display area to the right:

'Modern Design and Graphics: Objects and Prints from Post-War Europe'

A small display of objects and prints, highlighting the relationship between three-dimensional objects and two-dimensional objects.

 My favourite was by Swedish artist  Philip von Schantz , a watercolour 'Towards Arholma'  where the curved vessels merge with the water and sky. Having actual vessels displayed alongside was inspired . I found other examples of his work online like the one below

 Other pairings was this linocut of sails  by Jurleif Uthaug  with wooden vessels  ( above)  and the lithograph of a woman hanging out washing  by  Jurgen von Konow  with an engraved glass vase  (below)

 I was a bit short of time so didn't note down the makers of the print and woven baskets above or the glass vessels  displayed with the Morandi etchings ( rather a contrast to the dusty  bottles they were drawn from!!)

The drawings that Maggi Hambling made of   close family and friends on their deathbeds (or in  her coffin in the case of her mother) are  very moving but it is her studies  of waves  that I  find compelling in capturing their force and energy.  

Summer Exhibition at RA: Textiles and 3D

715 Eileen Hogan

 Working  with cloth and stitch myself, I'm always interested to see  what textile pieces are chosen  for the RA  Summer Exhibition. There's  always a lot of chattering on yahoo groups about how few there are  but in the end, regardless of what media , it has to work as art - if that means framing  or mounting on canvas  so be it.  I had to include  Eileen Hogan's wonderful oil painting 'self-portrait through wardrobe '  as it sparked all kind of ideas  related  to 'travellers blanket' I've just started. I think I'd have to do a painting of my earring collection ( which is not small....)

126 El Anatsiu

Another wonderful  varied piece by El Anatsui, it was great to get up really close  to examine the different materials used

466 Bridget Bernadette  Karn

Although not really  my taste, this felted picture fitted in well with the 'landscape' theme of the gallery and the texture of the wool  made it far more interesting and atmospheric than  if it had been a painting. Fascinating video here of how she does it. She also posted several pictures on Facebook asking which she should submit  and had a very good response ( I voted myself , but not for this piece)

855 Jacques Lawrence Calver

I really liked this piece by Jacques Lawrence Calver, you can really see the influence of 'Boro' in his work.

668 Miranda Argyle

It's good to see work by Miranda Argyle included again. Always thought -provoking , this piece 'inside out' is based on MRI scan of the brain with the underside showing ( read more about  it here)
I 'm a big fan of the 'unconscious side' of stitched  work

846 Susie Koren

 I wasn't a big fan of Susie Koren's prize winning quilt ' Gravitational Force' last year  at FoQ -  the stitching and mark-making was rather lost on such a  huge piece.  But the two framed  pieces  here worked  much better, stitching as a form of drawing, they looked like fragments of old maps or manuscripts.

1014 Susie Koren

1216 Joe Tilson

In Gallery X  devoted to photography , the large tapestry 'Look'   certainly drew your attention.

1078 Eva Rothschild

This year I found the mix of  sculptural work in the lecture Room overcrowded, overwhelming, I didn't spend very long  in there. 2 pieces close to each other were this  wool  embossed blanket set in resin ( the quilt police definitely wouldn't like that but I liked the enhancement of the texture and intensity of the blue/black colour)

1072 Brian Griffiths

I was intrigued by these dyed kitbags and  investigating further online, found they were part of  what seems a fascinating, poignant , site specific installation recording the history and stories of an old boxing club.

308 Lindsey Archer

I normally only give a cursory look at the gallery devoted to architecture  ( something about all those straight lines ....) but 2 pieces caught my eye. I loved the quirkiness of these little structures made of paper, card , aluminium by Lindsey Archer. It's interesting  to contrast the arrangement in  what I assume was the submission photo ( top) with the more organic layout in the gallery itself.

333 Julie Massie

This is the piece I would have wanted to take home with me -  I've never seen porcelain used in this way, the  qualities of  of the edges spoke to me, especially when I found Julie Massies website with  further work inspired by the fragility of coastlines.

Drawing Tuesday: Back at The Beaney

With an afternoon rheumatology appointment, I made the most of my bus ticket to Canterbury, revisiting the Beaney House of Art and Knowledge  in the morning. It's an excellent museum for sketching in , with well chosen ( and lit!) display,  good interpretation and lots of  chairs and tables , even pencils, laid out. I loved this medieval greyware pot (above) in the 'Materials and Masters' Gallery with it's thumbprints round the base and I've got these green pots in mind for my next visit!  

Instead of the Clangers, 'The Drawing Room' had a new exhibition  of artists books  titled ' Prescriptions'  with interesting, thought provoking and moving (sometimes disturbing ) interpretations  on the themes of well- being and medicine.  I recognized a few names from 'sketchbook project challenges'

 The low lighting for conservation purposes and the glass cases made photography a bit difficult  but these caught my eye.

 37.  ' Suturing' Margaret Cooter ( she blogged about it here)

 96. 'Osteoporosis'  Lizanne van Essen

 22.  'Scan Square Book ' Bini Atkinson

24.' Biological Correlations'  Heather Beardsley

 The exhibition is on until August ( the 'magic Lantern' exhibition  was also intriguing)