MICHAEL KIDNER TESTS

 

 

 

 

 

DIGITAL PRESENTATION AND COMMUNICATION

For the digital presentation I found this a problem because of the reasons that some of my art pieces are installations and 3D so it was hard to communicate my idea across to my audience. With the digital presentation my photographs were strong and I had good ideas with the colours and stretching. The reasons why I thought that the digital presentation didn’t work in my favour was because my art work is very tactile and if you cannot see it in person you don’t get to understand the materials and the conception behind these installations. My reasons for my work are that the materials which are significant. They all link with the colours which make it full of fun! The transformation is amazing.

Communication is the key in the practice. Using these presentations is useful and does help me to prepare for what is going to happen in the future. I benefited from my peers reviews as they helped with different ideas, opinions thus expanding my knowledge on how to present my art work in different situations. In some ways the digital presentation was better with the reasons are that the photographs were clear and I could show my research. However I still prefer to do my presentations on boards as you can see the samples and materials. The boards cut down the amount of work needed as you have to be specific about the resources you choose to place on the boards. For my work I prefer to experiment on boards with samples then analyse and manipulate as my idea progresses to the final piece!

MICHAEL KIDNER

Analysing my work I needed a space of my own where I could manipulate all the materials I had selected. Having this space to work in I would be able to create my larger scale work. So requesting a much larger frame built gave me an idea of how to work within and around space with my materials. The frame also gave me idea of scale and an estimation of the materials I would need to create an impact on my viewers.

The processes and media I was using for the space didn’t seem to apply well to the scale my colours were still clashing. I still needed to solve this problem of clashing colours. The dilemma is that I have been trying to add so many different colours in to reference Michael Kidner I wanted to refine what works better. I needed to add my personal touch and use the colours I work with the best. The colours that I can manipulate and translate the most appropriate is the four neon colours. I knew by reflecting from my past artwork and what materials I was working with that narrowing down the colours that I have been working with would help me with decision making.

With the neon colours there is only the main four that work together. Going back throughout my research, there was elements missing, where I needed to look more closely at how lines all work together. I need to see how I could manipulate and transform the use of lines. With Janet Echelman and Travis Rice the use of line is simple and unique; however it is repeating the same processes concisely. The processes repeated create such an impact and that is what I needed in my artwork. I know from reflecting back to my past work that is what I am good at creating.

With my space I need more direction on how I was going to do my embroidery style. I had to analyse what method worked the best. I was pinning various different everyday materials on to the space which were combining well together.

LIVE EXPERIMENT

 

EXPERIMENTS

SELF- INITIATED BRIEF

This is where I have chosen to look at materials to see how I can manipulate them in unique ways to create drawings. I chose to draw with materials because I feel you can capture enhanced colours and styles this way. With my drawings in some cases I chose to use jelly as a material. Jelly to most people is something they eat, however I see it as a blank background to develop using paint. I would also manipulate the jelly by smashing it, cutting and hiding objects within! My influence for this project came from the fireworks; then again I didn’t take the typical aspect of the colours and sparkles. Watching the fireworks I analysed the smoke and how they sky was effected by it. I discovered that the smoke created more of an impact like my art work.

While doing this project I discovered that my drawings link to the Michael Kidner brief because of the appliance of colour and the manipulation. In both projects I have been using colours as my main focus. The neon paint colours on the jelly created a look and effect which I could then utilize on my Michael Kidner brief.

SELF- INITIATED BRIEF EXPERIMENTS

 

JANET ECHELMAN

MICHAEL KIDNER

With the Michael Kidner live brief my direction was clear at the begining because I took in to consideration that my colour has the same relationship to Michael Kidner colours in his paintings. However I needed to analyse my art work including my use of colour and what focus was required. I had to have in my mind the use of embroidery stitches. However I looked at more artists who use these manipulations within their work and I found that my context relates more to repetition so creating these shapes over and over again to create simple minimalistic pieces which were light-hearted and colourful.

An artist that I have been researching called Janet Echelman creates these massive nets which almost look like lines of stitch. These art pieces influenced me and gave me confidence to experiment with different scales. I have always took an interest in scale so I wanted to take risks to see what my art work would look like on a huge scale. The artwork had simplicity towards it with the use of lines, however with installations being on such a large scale. I feel that this is why it works very well. This influenced me to develop a simplistic outlook on my own artwork as I struggle when there are too many colours together clashing. I needed to simplify my colours for this brief.

MICHAEL KIDNER EXPERIMENTS

 

 

MICHAEL KIDNER

Stretching colour was one of the main focuses. The materials I have been using were all everyday materials such as bandages, foil tape, elastic bands and rope. The problems with these installations were that some of the colours clashed. The main reason was for these installations were to see how much I could stretch, and then explore to see what would happen to the materials. My thoughts for the installations were that they didn’t have a context of such. I know that some of the colours related back to Michael Kidner, however the installations didn’t have my own quality to them. I am going to relate back to the idea of embroidering a space. I started to take this more in to consideration as by doing these simple embroidery techniques build my artwork. This simple technique of manipulating these stitches gave my work the edge it needed. I have done these ideas in the past however with this live brief I wanted to upscale on a much bigger scale. Also the embroidery techniques I started to research were more in to different types of knotting and netting shapes.

BRADFORD CONTEXT

BRADFORD SAMPLES

 

 

BRADFORD

To push my professional level more I have to present my work in front of peers. This will give me new information on how I come across professionally. I created my two boards for the presentation, this time I considered how I wanted them to look. I had to be careful in what I chose to put on the board because of my samples. My samples are never flat or small so sometime I find it a lot harder to communicate my ideas across because some photographs don’t do the colour or materials any justice.  I have found a system which shows my ideas off well is manipulating them in photoshop to create my visualisations. These techniques work perfect for me because I am now able to present my ideas to the scale and show how I wanted them to be viewed. I can evaluate more on how my art work is going to look because of these visualisations. I can reflect on what works the best in my creations.

 These presentation with peers helps because I am getting other opinions and voices to view my work. This helps build up my presentation skills to prepare me for future times. The industry I want to go in is where am pitching my artwork and ideas for spaces and places. I need to push myself in these presentations because the more practice I have will help me in further times. What I struggle with the most is communication of ideas. It is hard for me to explain what I am creating and the reasons why. By having these peer presentation they can tell you where you are going wrong and what your strong points are! During one of the presentations I was told that my ideas were clear and that photographs of my visualisations were the best way to express my ideas. With my work being on such a large scale I knew communication would have to be the key. My peers said I was confident and that I didn’t have a problem with talking to many people. I think that is key in this practice is you need to know what you are talking about. This gives me my reasons for manipulating everyday materials and constructing and deconstructing them.

MICHAEL KIDNER WORK

 

MICHAEL KIDNER

The project I want to focus on is Michael kidner. The brief was to create a piece of artwork to be chosen to show in the London flower gallery. When I was researching Michael Kidner all I could see what the fact he liked working with colour and pattern on a flat surface. However I started looking at Kidners sculpture and they were all about stretch and tensions. With having discussions, I knew I had to test myself. Then choosing this live brief because I knew my peers would also like this brief and do prints, where I am going to push the ideas of his stretch sculptures by using everyday materials to manipulate this idea.

Michael Kidner use of colour is strong. I have always used colours in my work and when I was trying all these colours at once I found that they won’t work well together. Every colour just seemed to clash.  I needed to break these ideas down and focus on main ones. For example I knew primary researches who give me ideas of compassion and how to work with all these colours.

BRADFORD EXPERIMENTS

 

Suzan Drummen and Travis Rice

Suzan Drummen

 

Travis Rice

BRADFORD

During this project for Braford I wanted to create something which was all about the use of mundane materials. My work is very much to do with interaction. The materials I use depend on the processes I chose to be able to manipulate them. With words, that link to my practice is deconstructive, chance, risk taking and colour. The main purpose for me using such bold colours is because I want my work to be playful, eye catching and interesting.

The artists and designers I have been looking at reflect this as they create a different environment for the audience. Artists such as Suzan Drummen and Travis Rice.

With researching and developing my ideas I have analysed that I want to create work which is interactive and fun. The idea of playful comes with the use of materials I work with and the choice of colours. The reasons I choose such bright bold colours because of the impact they create on the audience.

 

SUMMER DEGREE SHOW

Viewer the degree show gave an intel on how I could develop my textiles skills in the next year. I benefited from going to the degree show because I didn’t just look and explore the textiles in practice but I got a chance to view other courses work. With me I got a chance to see how everyone presents their work. This is something I find really difficult in my practice because I work in such a big scale I never know how to present my work in a professional manner. I discovered that from looking at the graphic and photograph courses I can really benefit from using photograph in my future work because I will be able to capture my large scale work professional.

An artists that I did really enjoyed looking at was Tatum Farrar. I chose to look at her more closely not because of her fashion concept but her use of materials. Materials is a key aspect towards my artwork and looking at other textiles that use this benefits me on how I could change ideas. The use of colour in Tatum Farrar work really relates to mine because I find that working in mono chrome doesn’t work for me. However using the flourecent colours works well for me. By looking at how other textiles artists work with flourcent colours is interesting because I can see how they have display and presented their work to make and impact and not look to over the top. Which I sometimes over do.

 

Hollie Jayne Dixon is another designer/ artists I took interest in because of this whole idea of changing a flat image to a 3D object. With embroidery there is always something different about it. I benefit from changing the style of technique to something more contemrarpy. I almost found this in Hollie’s work because she wants to change the flat to 3D. I try and transform this in my work. I do this by drawing with materials first then creating something new and 3D from the image I have taken. For example when I experiment with jelly and liques I found that I beneifted more from looking at the patterens that were created rather that the materials themselves. It was all about how I manipulated to materials to do. I would like to carry this on in my future work.

 

Another designer/ artist that I discovered link to me was Rowan Taylor. The idea of organic forms seems interesting because they come in any shape or form there is no right or wrong way in organic forms. I find that my work creates these shapes because I never create a specific shape I just let the materials create what they want. I find this better when manipulating materials because of different types and styles you can get. Materials is key and organic forms seems like something I would like to take forward in my future practice.