patriarchy

Yesterday I went to the National to see 'A Taste of Honey'.  It was fabulous. 

The play was written by working class Shelagh Delaney, aged 19, in six weeks during the narrow, oppressive, patriarchal 1950s.  Truly amazing. 

Long live feminism I say.

I have also started rereading Bell Hooks' Feminism is for Everybody .  This book brings me back to the meaning of feminism -'feminism is a movement to end sexism, sexist exploitation and oppression'.  Hooks set out to write a book which was 'concise, fairly easy to read and understand'.  I find the book to be intelligent, balanced, not particularly easy to read but very good at breaking down the theories of feminism, the myths around feminism and the simplicity of feminism.  I like it because it discusses how feminism is advantageous to both men and women - feminism is for everyone - those three words feature in my designs.

Fourth wave feminism is 'issue' focussed.  Young and vibrant....it reminds me that 'the personal is political' - a phrase that is bandied around but has not been attributed to anyone.   Those words  feature in my designs too.

My Masters project is about the use of text in textiles yet so far I have been concerned mainly with pattern designs which reflect the use of technology in fourth wave feminism.  The designs are too busy and I'm not progressing so I'm changing my focus onto text and hope that a different tack will open up some new ideas.

technology and digital artists and grid structures

In the process of my quest to illustrate the use the technology of social media by fourth wave feminists, I have been looking at digital artists. 




Frieder Nake, Hommage a Paul Klee, 1965



I find this image very appealing, it has a naive and striving quality.  Frieder Nake was one of the pioneers of digital art who used 'cumbersome computers that often lacked a screen or user interface.  Instead, thy relied upon carefully constructed programs, or algorithms, which they used as instructions to drive a simple printer or plotter'. Beddard H. & Dodds. D (2009), Digital Pioneers, V&A Publishing, London.   

Mark Wilson, e5906, 2008



Mark Wilson , untitled, 1976




Mark Wilson's images are more precise, colourful and (for me) emotionless.  They are certainly indicative of the digital world.

Yesterday I visited three very different exhibitions - yet linked.

The first exhibition was at Somerset House.  It displayed 40 pieces of Japanese boro textiles.  Boro are patched pieces of indigo dyed cotton which had belonged to poor families between the 17th and 19th centuries.  Many have been destroyed through shame, but those remaining are exquisite.  Simple running stitches were used to attach purchased 'rags' to repair worn patches.  Some of the stitches seemed to encompass a more decorative quality - though whether this was ever intentional is unknown.  The fading colours, stripes, frayed edges and grid effect was mesmerising.  The sense of human endeavour, poverty, need and emotion was overwhelming.

the wall Matisse used to display his cut outs in Ville le Vence, 1948

Digital art and the qualities of boro could not be more different - except for the grid presentation.



Matisse, Nuit  de Noel, date unknown

The Matisse exhibition at Tate Modern was everything I expected it to be - colourful, large scale, energetic, pleasing.  It was interesting to see his earlier attempts at cut-outs which showed the  learning process.  Again I was struck by the 'grid' presentation.  He remained true to his style, his love of colour and his flair for pattern throughout his life.

Portrait of Hugh Gaitskill by Richard Hamilton

Richard Hamilton, My Marilyn, 1965

On to the third exhibition of the day - Richard Hamilton.  I found this exhibition much, much more challenging... more experimental, more political and more diverse - less concerned with pleasant imagesand more concerned with social comment.  Again, an artist who worked into his old age - embracing new technology, experimenting with techniques and materials.  Before this exhibition I had known his pop art work -  Swingeing London and Just what is it that makes today's homes so different, so appealing? - but I had been unprepared for the depth of his concepts - had I known I would have visited this exhibition first when I had more energy.

And a grid...

 

  



 

 









When suffragette Emily Davison died the mourners were asked to wear black carrying irises or purple carrying crimson peonies or white bearing laurel wreaths.  Tens of thousands attended, it must have been quite a spectacle.

In my visual research I have been investigating the  use of peonies, irises and laurel.  Also collaging text.











I have also been investigating surface pattern styles.  I like pattern and detail (which is reflected in my embroidery style)and is a strong feature of 1950s 'contemporary' styles.

I am going to return to creating patterns from the motherboard making patterns which are more subtle.  I have used current drawings in quite a large scale, causing the lines to look heavy and bold. 

'Savage Parade'  by Fernand Leger 1955

This 1955 textile design includes imagery and text.  I like the abstract sketchy quality and the use of pattern on both the text and the graphics. It is a half drop pattern.  Whilst I do not think the colour would suit today's aesthetic, I do like to simplicity of a two colour design.




Textile border design 'A Fish is a Fish is a Fish' by Ken Scott 1951

This graphic design is bold. Again it uses pattern, this time to illustrate scales, skeleton, fossils etc.  A white background with five colours. 

It is a border design inspired by Gertrude Stein's poem 'Sacred Emily' which includes the line A Rose is a Rose is a Rose.                         

The Paolozzi design (below) features the trademark 'cut out' design of the 1950s.  A very simple block repeat using four colours. 

'Barkcloth' byEduardo Paolozzi, 1954

So back to the drawing board for more drawing.  Also, perhaps inspired by the Matisse cut out exhibition (which I haven't seen yet) I will use paper cut out shapes to create pattern.





digital prints

 







I have had the screen printed, motherboard inspired, motifs digitally printed and I am pleased with the results.  I like the vivacity of the colours and I like the complexity of these designs which include painterly and graphic aspects.







Early days yet, but these could be used in a repeat pattern or combined as a placement print.


I have also included some black and white images which could be combined to create an interesting design.  

I enjoy pop art and am inspired by Paolozzi's 'Barkcloth' design (1954).







The range of digital prints include a couple of simple repeat designs which I am less pleased with.  They were created on Photoshop from simple drawings.  They were digitally positioned and digitally coloured drawings - the results are flat.





In this instance, the value of intermediate stages such as  screen printing or hand colouring to create a more interesting design is realised.   

 

 

 

professional development

The Julian Society in Norwich have asked me to format religious quotes for use in a screenprinting workshop which I will deliver alongside another person and a volunteer during Julian week in May.  I have spent time this week formatting quotations, using different fonts and layouts.  Seven of these have been submitted to the Julian Society and three have been approved.

I have been accepted as a volunteer at a V&A workshop with Sarah Corbett of the Craftivist Collective. 

Today I attended an AVA session - industry standard design software.  Incredibly fast and clever .....and expensive. I won't be using the programme professionally once I have completed my MA but it is still useful to be aware of it.