Collars, pipes and tankers

Thinking about the tanker as a container, wrapped in pipes of all sorts of different sizes, colours and purposes, I began to create three dimensional structures, chrysalises, samples for lighting perhaps.

Firstly, I sampled extensively with many fabrics, analysing their stretching abilities and whether they gave me the quality I was looking for. The effects were varied. Some fabrics were just too heavy, others had insufficient stretch. Eventually, after considerable research, I found a stretch silk satin, a silk and lycra mix. Creating a striking line design from the back of a tanker, I printed sample pieces of the silk satin, exploring what I could create. I also sampled to see if the silk lycra would print and dye with Procions. It dyed and printed perfectly. I then sampled to see if the colours I was using would discharge and was pleased with the results.

I much preferred the matt reverse side of the fabric and loved the heaviness and drape.

One piece of heavy strimming wire has been threaded through this piece, tensioning it into pockets at each end.

This design has two pieces of strimming wire tensioned into the piece.

Samples in deep plum. One and two pipes have been threaded in different positions.

Several pipes are used to create the rust sample. I can see this on a much larger scale and one of my challenges is to create a huge structure. Finding the 'pipes' with the right firmness and stiffness to enable them to be tensioned is one of my problems. Recently I have discovered a linen with lycra, a stretch linen. It is gorgeous and I can't wait to sample with that. I am thinking of structures which could survive outside, or tougher structures which could be waterproofed, perhaps.

COLLARS OR LIGHTS ETC.

Using the shape of the backs of tankers, I then created two ideas for collars, or lighting with the intention of laser cutting them later in fabric. I printed the shaped in various sizes, cut them out and collated them into shapes. So many wonderful ideas here.

This shape is created using a design taken from the rear of a tanker.


I can see so much potential in this black and white shape. So dynamic, but then I adore pure colour, black and white.

A design for a neck piece, light or larger structure taken from the rear of the 'CB' tanker.

I now must source fabric with which to make the piece.

All images are copyright. Thank you.

A day in London

My day in London was peculiar from the beginning.

I peaked into the ticket office at the underground. No one there. As I delved into my bag for money, suddenly he appeared as if from nowhere and I jumped.

'I thought I was in Harry Potter', I laughed.

'I'm not that ugly', he said.

'Did you use flue powder?', I asked, and we laughed. He was so helpful and as I left, he asked seriously,

'Are you an actress?'

'Many say I am a drama queen, but no'

Hysterical! It cheered me up.

I set off for The Hayward Gallery.

As I waited for my train, I took these pictures at Euston underground

I was wandering along the South Bank towards the gallery when a woman accosted me, squinting at me sideways and pointing a finger, she said.

'You're a film star, aren't you?'

I insisted I wasn't but she wasn't convinced, pointing and looking at me knowingly.

I then bumped into a friend from Dolton, the village where I live. I told her my weird happenings and she said she wasn't surprised. She said I really stood out and looked special. And there I was in my usual scruff gear. Perhaps it was because I was at a Healing Weekend and had been soaking up the energies? Who knows!!

I had been drawn to 'Walking in My Mind', a huge exhibition at the Hayward Gallery, after a friend told me about it. I had been delving into the deepest recesses of my consciousness in my studies of 'Zen' and was confused about conceptual art. No photography was allowed, except outside, which was a shame.

There are just too many exhibits to discuss but

Thomas Hirschhorn's endless series of cardboard caves covered in brown parcel tape was an uncomfortable, almost fairground experience with uneven soft, disorientating floors, figures covered in silver foil with extended 'umbilical chords', an inner environment of about ten caves.

'To me, the cave is in your brain, the cave is in your mind...You have to build this cave in your mind and to struggle with what happens in this cave, in confronting it with the world'.

It was the work and mind of Yayoi Kusama which most captivated me though.

Here I am in Yayoi's room of scarlet balloons and white polka dots, a stolen photo before I was pounced upon by security.

'My artwork is an expression of my life, particularly of my mental disease. My art originates from hallucinations only I can see. I translate the hallucinations and obsessional images that plague me into sculptures and paintings'.

Eventually, after showing her art in America, in 1973 she returned to Japan where she chose to settle permanently in a psychiatric hospital in Tokyo.

Kusama started painting polka dots when she was about ten years old. This motif, which has remained a central feature of her work, emerged as the result of recurring hallucinations in which the artist found herself and all her surroundings covered in the same pattern. She has said that the experience made her feel as if she was revolving 'in the infinity of endless time and the absoluteness of space' and sees her life as a 'dot lost among a million other dots'.

There was something more than disturbing about the work. Something questioning. To be so immersed in her psyche, her life of polka dots, was uncomfortable, but powerful too.

Chiharu Shiota's gallery was an oppressive spiders web, a huge cat's cradle, someone else's walk through nightmare.

'''when I dream...I feel the dream as reality. I can't distinguish between dream and reality. When I wake up, I have the feeling I'm still dreaming'.

There were many others, and I left the exhibition almost questioning my own sanity. 'what is normal? What is acceptable? I left with the understanding that in art, one may delve as deeply into the subconscious as one wishes or needs.

NEW DESIGNERS

In the afternoon, my main reason for my visit to London was to explore New Designers.

I love 'New Designers' because it is such good research of what is being created in Art Colleges. I was obviously interested in seeing the work on the Falmouth University College stand, which I felt compared very favourably with other colleges. I love to look at Farnham because that is where I did my B.A. and Bath, where I studied for one year. I took two photos only, I think of Bucks University.

But what I took from the day, after enjoying exploring the stands, wondering at the diversity of the work; the excitement and anticipation of the students and opportunities which had already presented themselves, was that almost everything has been done before in some form or another.

We, as designers, should never be restricted by that familiarity, or that our idea 'has been done before'. Our interpretation may develop into something unique and exciting, innovative and unusual. We must always 'follow our noses' to see where it leads us.

'

Cows

Plans are made, so much to do to create my hangings - and then - I injure my back, hurt whilst camping in Milan and not dealt with. Agony. I have not been able to do any work this week.

I am doing what I can.

One morning, unable to sleep, I finally gave in at about 5.30 am. and I set off with my camera. The sun was rising. It was beautiful.I was enjoying my morning with a herd of heifers, remembering my cows, Melody, a contrary Jersey cow, a person whom we loved dearly. Salefka, another temperamental Jersey was used to being milked from both sides and she kicked. I bought a calf, barely a week old, a Hereford Friesian, Edwina, whom I fed with an enormous bottle.

I hung over a 5-bar gate, awed at the beauty of the glistening morning, my expert moooos drawing a small herd of young heifers.

I was caught up with the sun shining on their drool, their feathery whiskers, laughing at their curiosity and personalities.

An ear - backlit by the morning sun.

'Is it edible?' Cows explore with their tongues.

The detail of the inside 0f a cows mouth is incredible in this one.

Golden and scarlet whiskers.

A nostril. Quite a Zen shape which is what I love. A cow is exploring my face and I manage to capture this wonderful image of her nostril, a swirling echo of other imagery of pipes in fabric and spontaneous drawing in meditation.

This, to me is the wonder and beauty of design.

Drool, like dew in the early morning.

We have created many vegetarians in our time with the animals. It is true. Many children think meat is something bought in a supermarket, 'food on a nappy', as Mel says - could be made from anything. Children are horrified that they eat these beautiful animals, as sentient as cats and dogs. I love livestock but one cannot avoid the killing. I had to give it up.

My point is that all events in our lives make us the people we are. The animals are part of my design process, my design thinking, my own sentience, part of my Soul.

Images are copyright.