Portraying by Drawing

Traditional mediums – experimental approach with these – use of white spirit to create unusual effects.

To create more variety of mark making soft pastel also used. Introduced some pressed flower heads, collected when abroad last year. Part of a previous textiles sketchbook of ideas. Soft pastel capturing qualities of the pressed flowers, having browned slightly,  creating a haze. Soft pastel layered up.

Research into both Ellsworth Kelly and William Morris, encouraging me to introduce  a botanical quality to some of my drawings. An interest in bold floral prints of the 1970’s, commonly associated with duvet cover sets, curtains, patio sun loungers, Inspiring me to produce two drawings, not particularly strong as drawings but with substantial stitch potential.

Interested in experimenting with wood block printing after conducting research into William Morris and his exploration and use of this printing technique.

A series of small drawings produced, although varying the medium used, they work as a series purely on their size. Having planned to keep similarity, consistency in style, a decision then made to introduce pressed flowers and soft pastel, stitch potential limited otherwise and the drawings were considerably lacking in strength and variety. A good decision, results proving so.

Confident working with colour, always going to include colour in this folio of drawings – stronger as a result. Colour juxtaposed with the monochromatic.

When planning ahead – textile design – Repetition – Motif – Pattern – Movement – scale considered. Pattern repetition with wild flower study – closed flower heads. With buttercup loose drawing – 1970’s print influence. Fern, an effective motif, experimenting both with print direct from frond, also capturing qualities, the monochromatic study – graphite powder and white spirit. Resulting effects transporting me back to a carpet my Grandma had, white background and grey swirling pattern repeat. Nostalgia- unintentional sometimes,  but evident in all my work. Also evident in the fern frond study – soft pastel –  a sketchbook page – the colour and pattern reminding me of soft furnishings from my childhood – subconsciously influencing my work.

So much stitch potential in this folio of drawings – a really successful project. Slight differentiation to initial concept, positive results. Collecting pressed flowers now for future use. Excited by their unusual qualities. Alteration – similar to the concept of strandline objects as tropical tourists. Their deterioration adding to their interest – Wabi Sabi – Beauty in their imperfection.

David Hockney

Believing that colour can create shape, weight, and texture, colour making the world more real. Interested in seeing and accurately recording the evidence of our eyes.

One of the most influential British artists of the 20th century, a painter, draughtsman, photographer, set designer and print maker.

Still life has always been common subject matter, portraits, landscapes and still lifes painted in the hundreds since 2008 when he started experimenting with the “Brushes” IPad/IPhone application.

Pioneering the art world – Reinventing finger-painting, Loving the immediacy, and the instant responses from the many friends receiving them on a daily basis. New medium, new possibilities, unorthodox techniques. Techno sketches. Profoundly subversive of the art market as we know it. Sharing art work, a signed original it is not. Apart from minute differences, each image of the same painting, is the same.

A show at La Fondation Pierre Berge in Paris, entitled “Fleurs Fraiches, one of several such exhibitions of IPad painting, the images “refreshed’ during the course of the show, new flowers replacing earlier ones. Paintings not traditionally framed but exhibited on IPads.

Potentially the beginning of an artistic revolution for professionals and amateurs

Sources and Media

An abundance of wild flowers in our local hedgerows, the idea that these plants have propagated here for generations.

A natural selection – Harmonious – growing together. Jurassic coast – ferns in abundance – hedgerows on the edge of a disused stone quarry, stone full of fossilised ammonites.

Inspired to draw and incorporate into both stitch and print, the plants and flowers from these historical hedgerows. Considering the artists I chose to research, planning to produce drawings in colour pencil/ graphite. Contemporary botanical studies. Delicacy – movement – harmony – trailing – abundance – twisting – natural – timeless – link to the past

Nostalgia – the plants reminiscent of floral decoration on fabric, furnishings and home wear from my childhood memories. The area, my home, also the destination for all my childhood holidays.

 

Tord Boontje

 

 

Known for expression of romanticism in his contemporary design. Exciting, Uplifting.

A strong interest in nature, an experimental approach.

Originating in the Netherlands, Studio Tord Boontje was established in 1996. Responding to and leading trends.

I’m drawn to “Fern”, an example of textiles design. First appearing in the fossil record 360 million years ago, in the late Devonian period, their age I feel is captured in the layering of print in this design. Fossilised layers, layers of print. A sense of going back in time. Of time passing.

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Fern – Textiles

 

Natural forms evident in his furniture design. Functional but representational.

Rain (Chair and Table) Powder coated steel – 2008

Sheet metal decorated with delicate images and natural scenes – perforated. Contemporary reworking of classic wrought iron furniture. Shape suggesting the form of a plant. Detail of leaves on the arms. The shape formed by the tubular steel structure – possibly influenced by the stained glass of Charles Rennie Mackintosh. In particular the the stained glass rose.

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Stained Glass Rose – Charles Rennie Mackintosh
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Rain (Chair and Table) – Powder coated steel – Tord Boontje

A ceramic design “Garden Party Plate” adorned with flowers, fruit and vegetables, I feel to be a contemporary twist on floral ceramics going back through generations. Underneath this piece is a list of all the names of the flowers, fruit and vegetables adorning the plate. There are similarities between this plate and a plate, part of a dinnerware set design by Jackson China, “Jessica” from the 1960’s. Suggesting that Boontje may draw inspiration from objects evoking nostalgia.

Boontje’s designs I consider to be timeless, as with the work of William Morris.

 

Laura Ashley

Inspiration from a Women’s Institute display of traditional handicrafts at the V and A museum. Having difficulty sourcing Victorian fabric for her patchwork, she began to produce her own prints. Victorian Style Headscarves, the start, in 1953.

Rhydoldogh House near Powys. The house and surrounding countryside inspiration for Ashley.

A life long love of floral designs but not setting out to be a Victorian survivalist – believing however in the idea of decent, straightforward living associated with the time.

Ashley spent so much time in her garden, surrounding herself with flora, business planned on walks around the garden.

Long dresses in the 1970’s becoming her trademark. So popular was she, style wise, that 4000 dresses sold in one week from the Fulham Road store. Perfectly timed with the fashion change from the  1960’s mini skirt.

Milk maid style – Her hankering for the decent and straightforward lifestyle, associated with the Victorian period she loved. Erdem I feel must be influenced by designs such as these.

 

 

William Morris

Close friends with pre Raphaelite artists Edward Burne Jones and Dante Gabrielle Rossetti with whom and alongside other artists he co founded a decorative arts firm in 1861. Morris, Marshall, Faulkner and Co. Becoming Morris and Co. in 1875. Pre Raphaelite influence, apparent in his work. Designing tapestries, wallpaper, fabric, furniture and stained glass windows.

His first wallpaper design “Trellis” suggested by the rose trellis in the garden of his Bexley Heath home, which he designed. The house being part of the orchard, the orchard being part of the house. The first pattern issued was “Daisy” in 1864. Naively drawn meadow flowers – inspired by a wall-hanging illustration.  These designs and the next “Fruit” (Pomegranate) have a medieval character – a clear link with Morris’ work with the Pre Raphaelites and demonstrating an interest in naturalism in ornament.

Morris took observational drawings from life but also from floral imagery. Never intending his designs to be literal transcriptions, more subtle stylised interpretations of.

 

 

Erdem

Powerful femininity – creating a beautiful world.

I’m drawn to the Autumn/ Winter collection 2017. Built around the idea of an imagined  meeting during the early 20th century, of his great grandmothers. Family members meeting from different worlds, meeting for the first time.

Using a dialogue and interwoven cultural traditions – Bringing a collection to life with no clues of the family history apart from their place of origin, I believe the use of florals to be necessary in filling the collection with life. Creating a collection rich in print, colour and detail. Floral subject matter lends itself well.

Here he brings together the familiar and the exotic, great grandmothers origins, English and Turkish.

Femininity – Floral prints immediately spring to mind. Erdem takes his inspiration from history it would seem. Blurring the boundaries between costume and day/evening wear. I feel his use of ribbons, layering and hem to be a suggestion of floral form. Prints reflected in form of garment, form of garment reflected in Prints.

With an element of “Holly Hobbie” about it, the effect of the floral patchwork, homely – femininty – childhood – comfortable – crossing generations – Simpler times.