As recommended by my tutor Lizzy Levy in her feedback from my work for assignment two of the personal specialism course I took another look at the work of Eszter Bornemisza and I am glad I did. Although I have researched this fibre artist through the completion of textiles 2 course work given where I am now in my own development I was better placed to see her work with fresh eyes and to utilise more from what see had to offer. Eszter Bornemisza has regularly worked with recycled paper, textiles and other found soft materials which relates to the context in which I work with textiles and her wall hangings helped me to recognise the added worth of paper through my own creative process and within finished pieces.
As a result, I have started to research a range of different paper types for both my printmaking and my tapestry weaving. Currently I am investigating the merits of rice paper given its environmental significance and its overall fragility and capacity to be readily fractured and broken, to increasingly explore such themes. While the basic processes involved within her textile work include machine stitching there are additional elements of printing, dyeing, quilting and painting within her larger-scale textiles to create transparent wall-hangings, objects and installations using ripped, overprinted newspaper. I plan to extend my collage work to include different types of paper including newsprint and brown paper as relevant to my own context.
For Eszter Bornemisza the choice of newspaper as a basic material plays a central role in her recent work as it provides further visual experiences by their ephemeral character. It is fragile; the content is obsolete sometimes at the hour of appearance, while still bearing fragments of important details from the near history. It also represents the overwhelming avalanche of fake and relevant news we have to distinguish day by day. Given my increased research involving paper and its origins I aim to utilise such knowledge and understanding within my textile work. I plan to integrate paper alongside delicate materials like muslin and organza to explore my own context of fragility within my printmaking and tapestry weaving. I hope to experiment with this over the forthcoming months to investigate the uses of a range of materials. Like Eszter Bornemisza I wish to explore my own identity in process but for me it links with my associations with the sea and coastline to develop my own personal textile responses to the fragility and beauty of the environment.
Fragile Gift (2018) by Eszter Bornemisza appears to evoke fragility, decay and fragmentation through its design and construction. The use of ripped printed newsprint with the string-wire mesh elicits an emotional response as its meaning can be interpreted within the making. This 3D object has helped me to consider alternative ways to communicate meaning through print and tapestry weaving with the materials I use.