Reflective Surfaces // Artist Research // A2 Sketchbook
Top Left Textiles Pieces: silk paint, beads and gutta on silk.
Top Left of Second Page Drawing: watercolour and coloured pencil on sketch paper.
"The first artist I have looked at is the photographer Bing Wright from New York, who has used the evening light and stormy skies to create a calming ambience to his work. He has used smashed mirrors to create interesting patterns of trees, the sky, clouds at dusk and the striking reds and pinks of the setting sun, creating an almost spider web effect. This is a beautiful example of how the time of day, and that particular type of light, can create mesmerising art, but with the added layer of the dark cracks. His art has been described as ‘poetic stillness’ and has been linked to the beauty of stained glass windows, which is understandable when you look at the black lines and the pale colours trapped within them. As well as the very neat framing, I like the actual technique of using a low aperture to make the background out of focus and the cracks sharply in focus. His work has inspired me to think about not only the reflective surface I use, but also the surroundings, as it makes a big impact on the overall look and feel of the piece. His other works, such as the smashed pieces of mirror on mirror are also very still, and very beautiful. The colour palette of blue and grey carry on here, and also the shallow depth of field, a technique used throughout his work, which is something I will bring into my observation photographs. All of his works are very delicate looking, which I think is interesting considering that we have been taught as children that smashed glass means danger."
Reflective Surfaces // Artist Research // A2 Sketchbook
Middle Left: Biro and pencil on sketch paper.
"The last artist I am investigating is Mary Martin, who creates 3D pieces using a wide range of materials, such as aluminium and wood. The reason I chose to study her was because I wanted to make sure to study an artist who created almost installation style pieces, as now I have wide range of mediums to fully explore the extent of reflective surfaces, whether literally or metaphorically, from sculpture to photography, to stitching and material choices. I also chose to study her because of the amount of thought that goes into each piece, especially ‘Inversions’, which she created in 1966. I was very interested in how the piece looked different depending on what angle you viewed it from, so I went to look at in person at the Tate in Liverpool. To fully explore her style, I also went to see another of her pieces, ‘Cross’, created in 1969, in the Walker Art Gallery in Liverpool. I found it amazing that with both pieces, my perception would be completely different to someone standing a metre away from me, showing the multiple perspectives of cubism. This also means that as you pass in front of the pieces they seems to change, which is what initially interested me in reflective surfaces – the pieces you create will never look quite the same each time you view them, as it depends on the levels of light in the room and also who and what is behind you, making the pieces almost interactive. Mary Martin created this effect in ‘Inversions’ by using reflective aluminium and also by the careful and precise mathematics that determines what tilt and angle each plane should be. I found out at the Tate that this equation was similar to the one used by the modernist architect Le Corbusier, to relate buildings to people. Mary Martin went one step further with this connection, making her entire piece measure 6 feet, the height of typical average male. ‘Cross’ was created using stainless steel, showing her experimental nature in trying out different metals."
Reflective Surfaces // Observation (all photographs are my own) // Each board is A2 sized
1st Board, Middle Right Textiles Piece: silk paint, gutta, hand embroidery and beads on silk.
2nd Board, Middle Right Mixed Media Piece: watercolour, coloured pencil and acrylic paint on sketch paper.
3rd Board, Middle Right Textiles Piece: fabric paint, hand and machine stitching onto cotton.
4th Board, Bottom Left Textiles Piece: beads and hand stitching onto a printed image onto cotton.
"After studying Bing Wright's photographs of shattered mirrors, I decided to have ago at re-creating them, adding the further element of the ocean to tie in Cody Smith [another artist I studied in my sketchbook who used the sea in his photography] and also due to the reflective link between the colours of the sky and sea. I used gutta for the cracks and silk paint to achieve the delicate blues and greys present in the soft focus of the background and sky, showing the peaceful nature portrayed.
I was also mesmerised by the vivid colours created when Bing Wright layered shattered pieces of mirror, again shooting at the beach at high tide to achieve those brilliant blues. I was extremely pleased with the outcome, showing the spectrum of blues and greens captured within the shards of the mirror. To truly understand the colours and reflections within the photographs I took, I did a watercolour and pencil study.
During my study of Mary Martin, I went to visit 'Inversions' in the Tate gallery, Liverpool. I aimed to capture how the piece changed depending on the angle, going from warm lilacs and vivid golds to varying shades of grey. I explored the colours, highlights and shadows whilst fabric painting and embellishing with metallic thread.
To explore the ethereal nature of reflective surfaces, I visited the Science Museum in London and found the creases in the foil on the Apollo Lunar Module reminiscent of the dresses designed by Veronique. I shot in b&w [black and white] to reflect the time period (1968, same year Rabanne [another designer I studied in my sketchbook] created his silver dresses) and explore the light. I experimented with shiny beads to make the contrast starker, showing a more dramatic side to reflective surfaces not seen in the calm images above."
Reflective Surfaces // Observations // Close up of Photographs
Reflective Surfaces // Development // A2
First Row, Left: reverse applique using dyed cottons/
First Row, Middle: printed image onto cotton.
First Row, Right: foil, silver fabric, fabric paint and machine stitching on cotton.
Second Row, Left: sequins, beads, cotton and fabric paint.
Second Row, Middle: angelina fibres, cotton, foil, sequins, fabric paint through a stencil.
Second Row, Right: silk paint, gutta and beads on silk.
Third Row, Left: fabric paint printed using a stencil on silver fabric.
Third Row, Middle: printed image onto cotton.
Third Row, Right: fabric paint printed using a stencil onto black shimmery fabric.
Fourth Row, Left: fabric paint on cotton.
Fourth Row, Middle: fabric paint, silver fabric, black sparkly fabric, sheer fabric, machine stitching.
Fourth Row, Right: silk paint, gutta and beads on silk.
Fifth Row, Left: silk paint, gutta and beads on silk.
Fifth Row, Middle: printed image onto cotton.
Fifth Row, Right: fabric paint and beads.
"For my final piece I wanted to enlarge 4 rectangles using a range of textiles techniques, based on the photos from my observation boards. I decided to experiment with different techniques to find different ways to use textiles to represent the sheen and reflection created my the shards of mirror and the cracks. After experimenting with different materials and skills within these 15 rectangles I have learnt what techniques create what effects.
For my 1st final piece I will create a large scale detailed fabric painting similar to the piece on row 4, on the left to fully explore all the amazing colours and minute details created by broken mirrors reflecting the sky. Below is a work in progress photograph.
For my 2nd final piece I will use various fabrics to explore all the shades and textures to represent the blues and browns within the picture of the cracked mirror reflecting the sea, sky and the rocks. It will be similar in style to the piece in the middle of row 4.
For my 3rd final piece I will combine the freehand machine pieces and the angelina fibre piece to create a hybrid of the qualities derived from both - I was particularly pleased with these pieces as the free hand helped to blur the background which makes the layer of the angelina fibres look like the layer of the mirror and then using a stencil making crisp lines for the cracks which are in focus.
For my 4th final piece I will create a larger scale version of the silk painting on the right of row 4, as the delicate shades created mixed with the bold lines of gutta really represent the photograph well."
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