New brief. This is my second field project which focuses on the idea of entrepreneurship and the ability to create works suitable to be made through small scale production and to be sold through a variety of mediums. I have chosen to develop a design I was working with in another project by using the off cut material as inspiration. I am developing a light design that mirrors the box/bronze light I am working on (that will be finished soon). This light also fits with my previous brief of “The Raw and Ready Made,” so could potentially feature as a submission there also.
This light works on the idea of the “ready made” as it uses a variety of bought components and I hope to sell the item in a flat pack state that allows the owner to build the “product” themselves. Purchasing flat pack furniture and building it at home creates a sense of achievement and ownership, this could also be viable for art works. It enables the owner of the artefact to share an ownership with the maker.
Through this project I am focusing on creating a product with a high finish and more of an identity as a maker though the exploration of makers marks. Makers marks are most commonly used in the ceramic industry to identify works to a particular factory or maker. I want to develop this idea to become something that I brand original works with in the variety of materials I explore through my practice.
This is just something I was playing around with, yet it mimics the idea I am attempting to portray. It puts the work I am creating into the context I am working from. I have placed one of the perspex pieces in a frame in front of a woman’s face. The piece is quite haunting because it is not noticed at first, and the eyes have a piercing stare. Unfortunately, this does not work well withe the holes filled in using the wooden pieces, as the image is already dark and too much of the face would be covered. I think this has potential to work on a bigger scale, but I do not want to limit my work by framing it at this stage.
I have painted the wooden parts of this piece to experiment again with colour. I really struggle with the use of colour in my work and usually prefer to keep it simple to draw more attention to the process or material than what colour it could be. I think the colour in it draws attention from the engraved parts of the work, it makes a focus on the colour rather than the different materials and textures they have.
I have gone back to the original digital version of my pattern to experiment in other materials. With the influence of the mashrabiyas I have started to create my own panels that represent this concept. I have chosen to work with wood and perspex, cutting out the shapes I have created and filling in the holes with the off cuts of the other material. I think these work well as a pair, as they fit together well. The only downside really is the difference in material thickness: the perspex is thicker than the wood. The perspex with wood is interesting with the different thickness as the perspex is thicker with the smaller wooden pieces slotted in. It also reverses the function of the mashrabiyas which I think is interesting. It creates a statement about the need to hide or conceal. The wood with perspex is more of an imitation of what I have seen in Morocco, so I feel this is not effective as a piece of work with a meaning or statement attached.
The pattern I have created is slightly inspired by the repeat pattern found on “mashrabiyas” which are wooden screens found around the city. Their original use was to shield women’s faces, whilst in the home, from neighbours due to Islamic ideas that womens hair or faces canont be seen by men other than their husband. They are now used as decorative pieces found in riads and restaurants. Another inspiration are the decorative lights that project patterns on to walls and ceilings. Light is always something that fascinates me, whether it be an object that works with natural light or a light fitting like the ones found at the restaurant I have featured in my sketchbook.
I have attempted to further the work I have done with fabric dyes and my original pattern by introducing cardboard and wood veneer. The colours don’t stand out as much which I quite like as it makes the work more subtle. Although I have enjoyed the experimentation with colour and materials I feel I need to further develop the laser cut concept as it is more related to my own practice.
Some of the results of another textiles workshop. I have taken the card laser cut pieces and used them as stencils with fabric dyes and a heat press. I have chosen to experiment with colours similar to the ones I used on the original design. Using the heat press is a fast way of working and producing sample pieces, but I feel it is limiting my work to purely be textiles based.