Textiles 3 Sustaining My Practice

Assignment 2 Exercises 1-4 Review

Part 2- Making Connections

Gillian Morris Student No. 511388

Morris (2021) Experimental Screen-Printing Sampling Processes with Larger Scale Experimental Artwork on Vintage Linen Bedsheets including Pillowcases

Through the range of exercises that I have undertaken for assignment two and the research processes completed I have learned a lot through such in-depth reflection on who I am as a textile artist, what I want to say through my work and who I want to hear it which has been evidenced on my online learning log/blog https://weaveprint.com/  While I am pleased that I have managed to focus upon my creative work going forward I increasingly recognise the need to promote myself and my work more. I aim to extend further my online presence given its overall relevance to getting me and my work including context and narrative known. More time will now be afforded to fully develop this part of my creative practice and to capitalise upon the opportunities that this can offer me. I have needed to focus more upon my creative process up until now, so such an assignment focus has come at the right time for me and helped to increase my insight and understanding to enable me to increasingly address self-promotion. Formative tutor feedback from assignment one also helped me to complete assignment two especially concerning making connections with self-promotion and my continuing creative development and practice. https://weaveprint.com/2021/07/05/oca-textiles-3-sustaining-my-practice-response-to-formative-tutor-feedback/

From completing exercise one which was centred upon reviewing a range of case studies I liaised with Joanna Kinnersly-Taylor, textile artist who completed her own case study for me.  I was then better placed to undertake my own personal case study. I now have an increased creative focus to engage with people to help sustain my practice. I already share all my online learning log/blog with my peers through OCA Learn to increase engagement throughout this academic process to share and learn. I continue to make links and connections with professionals especially through Wasps studio complexes which has been very helpful as evidenced on my learning log/blog https://weaveprint.com/2021/07/05/wasps-currently-house-over-900-professional-artists-makers-and-creative-industries-organisations-at-20-different-sites-across-scotland-including-glasgow/

Throughout exercise two I have reflected upon my ongoing priorities to join a range of membership organisations, to continue to learn, develop, to network, to exhibit, to access information concerning funding including grants and sponsorships, residences, and jobs, to research widely to optimise opportunities which exist to promote myself, to make links and connections with people, places, and resources to aid the continuing development of my creative practice. I have undertaken extensive research to expand my knowledge to aid greater follow up including financial support options. I have capitalised upon contact with known textile artists both locally and from further afield especially Louise Martin, Tapestry Artist, and Joanna Kinnersly-Taylor, Textile Artist for mentorship, support, engagement, networking, and sharing knowledge, information and experiencing, alongside extended learning opportunities through ongoing workshops and masterclasses. I have uploaded a range of blog entries which evidences some of my research processes on https://weaveprint.com/  https://weaveprint.com/2021/07/04/online-virtual-and-live-degree-shows-2021-review-of-preferred-art-shows-and-collections/    https://weaveprint.com/2021/07/04/international-contemporary-textile-artists-researching-meaningful-narratives-in-textiles/

Exercise three helped to better equip me to increasingly sustain my practice through researching my audience, who they are and what I need to do to make myself better known to those who will be most interested in supporting my creative practice in the longer term.  I have tried to identify my own niche interest in terms of identity and embedded histories, to start to target markets through identifying who I am and my specific personal and professional interests concerning the environment and human experiencing especially mental distress-repair-recovery, which has included contact with related agencies linked to the environment and health. I have focused upon what is personal and meaningful to me within textile art which is also of relevance to others. I specialise in print, weave and/or stitch using reused, repurposed, and reclaimed natural materials which appears to be of interest to others as well who are interested in sustaining the environment and striving for zero/reduced waste. I have increasingly developed my own narrative using my own visual style, which is based upon original artwork from scratch, working by hand including hand printmaking, weaving, and sewing using stitch to sustain closer relating and responding with the materials in use. This has attracted interest from other audiences interested in authentic relating using slow processes which facilitate improved mental health and wellbeing.

Exercise 4- The Initial Project and Exhibition Plan really made me think about my proposed project of work and the related exhibition, to research and gather the required information to start to formulate what it is I want to do. I aim to utilise eight vintage linen bedsheets as the material basis of the creative work. Each bedsheet will be dyed varying shades of grey to match grey matter which is abundant in the cerebellum, cerebrum and brain stem and represents the core sites of cognitive functioning, information processing through neural connectivity. The original artwork for this proposed project work stems from research on neuro-networking from neuroimaging techniques to illustrate human identity and sense of self at its most intrinsic level. Six vintage linen bedsheets will be screen-printed whole, and two bedsheets will be used for the sampling processes through a process of building up layers of print to explore meaning and demonstrate emotion, one series of three bedsheets will represent crisis with print while the other series of three bedsheets will represent repair and recovery through print and stitch. The six whole linen bedsheets will be wall mounted as well as framed as a space to walk through and fully inhabit to interact with within the exhibition space. From recognising and articulating this I have initiated contact with Wasps’ studios to secure the exhibition space as I now realise the extended timescales required to put on an exhibition as so much is involved. That said however with such increased understanding of the requirements this has made me more focused regarding timeframes and being organised with my work.

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