Through completing a range of inkjet sampling processes on open weave loosely constructed muslin I was increasingly aware of the effects created on the material. This was helped through primarily using my own artwork within the layering processes. Progressively a more subdued colour palette was used, and the scale of colour and complexity was paired down to achieve preferred outcomes which resonated with my context for creative practice. Of the importance of making: relating with materials in process to elicit and evoke textile narratives concerning the brittleness of the environment especially marine and coastal ecosystems endangered with extinction.
On reflecting upon more recent inkjet sampling I was struck with the potential for tapestry weaving, to integrate tapestry weaving within the printmaking processes. That said I did not wish to copy verbatim what had been achieved in print but rather to emulate the effects which had been realised with the material in use. I liked the use of monochrome with colour, of black and greys being incorporated within a conducive colour palette to best represent a specific colour way. I experimented with mood boards and materials including a range of threads until I located a colour palette that felt right with the materials in use.
I was increasingly interested in communicating this idea of fragmentation and disruption within my tapestry weaving, to deviate from what was known for me. I planned to increasingly convey a sense of breaking apart, of damage and disrepair to better reflect environmental concerns. I wanted to develop a more unified relationship with materials, making and context which I felt. As a result, I felt more invested within this tapestry weaving process as compared to the previously completed separate tapestry weaving projects that I had undertaken for this course. Previously such tapestry weaving projects had sat apart from print as I experimented initially with known tapestry weaving options. In contrast I felt that a closer relationship with tapestry weaving was being forged with a closer affinity to what I was trying to say. I was more in tune with context, materials and making which felt differently. I took time from the outset to consider what I needed to know and understand to achieve improved experiential relating to and with the materials in process. To further aid the development of the tapestry weaving I undertook a series of sketches to ensure the scale, colour ways and structure would work. I was particularly interested in creating a rectangular shape, of a sense of increased fragmentation and disruption as the tapestry weaving was constructed so the warp threads could be increasingly exposed.