Another bridging idea, this time on a pendant.May 2011
I made this pewter earing using a wooden earing as a template. However I discarded this idea because pressing the wood onto the cuttlefish meant losing the natural markings of the cuttlefish.
May 2011
Pewter earings with c-Lon thread. The thread feels and looks like silk but is robust like cotton.April 2011
This was my first par of pewter earings that were cast in a cuttlefish. However, they were too heavy on the ears so a second, shallower cast has to be made.March 20011
Working with symmetrical pattern to create pendants and centre pieces. Here is a prototype made from paper.November, 2010
Lady Luck Rules workshop and trade secrets talk, Edinburgh, 7/11/10.This was a heat press pendant I made at the workshop using one of Lady Luck's designs. Heat press jewellery is a clean and fast process but it's far removed from the hand made quality that I like. The plywood pendant and russian doll image were pre-made in factories so the only thing left for me to do was heat press the two together.
Cross section of a cow bone used to create, for example, earings (see sketches)
I made my debut piece of jewellery with pyrograghied beads and a duffel toggle for the centre section (see image).
After this, I knew the process of making jewellery was something I would pursue. I'm not at all interested in the final product being a glamorous piece, but one which is well considered . Creating with the intention of making jewellery has allowed me to carve small pieces of material to make a menagerie of miniature sculptures, a scale which suits me.
Technique and craft was always something that I obsessed over at art school. Mainly because I felt that I wasn't being taught enough (if any) techniques from my tutors. I would rip, sand, melt, crush and fold materials in a childish exploration to find out how far i could push a material. So for me, burning with pyrography and sanding bone is a return to my old habits.
Weaving with nylon fishing line and mercerised cotton. This was an experiment and a failed one at that. I imagined that the placidity of the fishing line would make an interesting and robust fabric. I originally chose to make the piece out of the fishing line alone. However, I thought I'd add the cotton to see how the yarns would work/look together. Unfortunately, the line was too slippy and too fine, and as you can see from this picture, it didn't make for a good weave. I'm going to pursue with the fishing line but go for a thicker ply next time.P.s. My loom is very clumsy because it's the cheaper loom. I'm going to invest in a upgrade that will be more automatic and efficient. Everyone together...Hooray!
My new weaving loom is inspirational. Weaving is an ingenious way of engineering your own fabric. I'm a person who likes to know how things are made and I like to makes pieces from scratch. Being able to make surfaces from yarns and threads is offered to me by this versatile machinery. And what a beautiful piece of machinery it is. For me, a loom caught in the act of producing a textile is like watching a motion frozen in time.
My first handmade t-shirt. I machine dyed the fabric and made the tee by following a simple pattern. The idea is to take this style of tee (long/short sleeve, slit neck) and customize it with my own details and designs. So this is the start or base for the idea.
I recently looked at the work of louise Despont and I was drawn to her use of symmetry to create kaleidoscopic images on ledger and account books. I looked at those who inspired Despont, such as Emma kunz. In particular, the piece above caught my attention and i could see how this work could translate well on to fabric. The image opposite shows some samples have made in response the drawing.
Color Paper
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