Inward/Outward Project - inspired me to look into constant consumption of information
- -------Took out some books in the library to research the topic. But found this intellectual discussion on the: “The Internet is not The Answer” by Andrew Keen, doesn’t inspire me visually.
- Had a sit down with friends to discuss each other’s projects. And I had chosen an idea yet but ran this by them asking how I could interpret it into textiles. Victoria suggested I could look into visual graphs of the data and look at binary code. However, this just nulls me to death, find that so uninspiring. I feel what’s being promoted is to build a Conceptual project proposal. But conflating academia with my artistry is redundant to my creativity. I see the areas as two different parts of my brain. How I use logic and reasoning to understand the shift in power as Google has become the go to hub for all world knowledge. Is not the same muscle I use when considering colour, print, aesthetic and textiles
- However I also realise my project needs to have more gravitas than it’s aesthetic. Looking back on the projects I’ve done, trying to make everything fit into a visual narrative has actually hindered me from exploring new things. As I thought if I strayed too far, I’d lose the central themes of the project. When in practice it’s just caused my work to be boring. And since this is the last project what’s the point in holding back
Went to the National Art library, in the V&A to experience different set of books from a library. Had a large collection of work relating to Milton. Talks about the divine imagination, work seeks to invite this sense of imagination and playfulness.
25/02/2019 - 1/02/2019
Had chat with Ella about project to gage ideas from a classmate, came up with:
- Water way light dances on it - key theme of project will be articulating the fluidity of light, through textiles.
- Prisms - crystals precious gemstones, why is it that things that sparkle intrigue our eyes. Dance of light on an object
- Painting black and white
- Glass -amorphous solid—a state somewhere between those two states of matter. And yet glass's liquidlike properties are not enough to explain the thicker-bottomed windows, because glass atoms move too slowly for changes to be visible.https://www.scientificamerican.com/article/fact-fiction-glass-liquid/ . Perfect substance to work with caught in a state of imbalances between solid and liquid
[ Think Tank]National History Museum - Is light magical? Why am I looking at these gemstones, why do they intrigue my eye?
What Am I going to draw? Certain objects I'm looking at? Light dictates cycles. element of destruction of that cycle through light pollution.
Naturally occurring formation. Harnessing light, harnessing a natural material
natural commodity --- to financial commodity. rock formations of mining
Cathedrals, stained glass windows
Today’s aim was to develop observational drawings into our project. I brought in 3 objects relating to my project:
- Fake diamond earrings – because of the way the prisms refracted and reflected light inside the diamonds,
- A CD – similarly for its reflective surface that gave off this holographic rainbow sheen,
- transparent large beaded necklace I bought last minute from the shop for the way it had this oil spill type reflections on the surface of some of its beads.
- A semi-precious stone, because of all the delicate irregularities of line and colour it had.
On reflection I think it might be difficult to collect a diverse range of objects to draw from based on my current proposal, because I’m only choosing objects that reflect light or relate to minerals. This has made me consider expanding my project to include research into Jewellery from a certain time period.
With the processes of drawing we did, I found it difficult in understanding what’s meant by observational drawing. I’ve always considered it drawing what the naked eye perceives, exactly as you see it. But the processes I felt, encouraged a more interpretive approach to drawing, more being inspired by the objects in front of you and then letting the medium you use also influence how the object is drawn. I found the linear activity the most inspiring, I felt it lifted the work I did off the page, by using yarn and stitching to recreate the marks of the object. Because the thread transformed the drawing into a more 3D effect.
I found looking at my classmates work around me, how abstract the drawings could become so much so, that you couldn’t actually tell what object they were drawing. I’m unsure whether to consider this positive or negative. On one hand interpreting the objects in this way lends itself more to textile exploration, because colour, texture and mark are being explored in the drawings. But on the other hand, we’re not exploring the objects for themselves in a technical manner, so we’re not learning to draw what our eye really sees.
In the afternoon, inspired by our drawings, we blew up our marks to 3D paper manipulations. I really liked the back of my linear drawing, with thread piercing repeatedly through holes, it reminded me of how light streams through windows. Simultaneously I thought it linked well to my research of artist’s Adam Belt’s ‘Religious Experience’ piece, that reimagined sunlight spilling through church windows. I tried to recreate this feeling onto paper that would cover a window pane, using thread the idea and poked holes being it would allow some holes of sunlight to shine through. However, as I often do, I underestimated the labour needed to make the experience work. In the end I liked the effect up close, I think there was a real softness of touch captured by the thread woven in and out of paper. But from far away, it was a little underwhelming, especially being white thread on white paper, not much of it could be seen. Seeing peers work, the ones that worked best were those that had manipulated the properties of paper, ripping it to shreds, cutting it all up. I think sometimes being too precious with my approach particularly on a large scale, doesn’t work.
RELATE TO PROJECT?
This workshop definitely opened my eyes to reproaching drawing, using different processes and techniques. And I tried to experiment with varied approaches to my drawing style. However, a lot of what I created I don’t like. Maybe this is because venturing outside my comfort zone, means I’ll end up creating work that I might think doesn’t work, but because of the fact it doesn’t fit into what my idea has become of what “works”.
11/03/19 - PROGRESS REVIEW
Highlighted to me, saying project is lacking because I haven't done enough research. Felt this was an unjust indictment because feel all I have been doing is research. With trying to find an idea. But she's right in that my artist research is weak, also I hadn't uploaded any research onto workflow so to Francis it appears nonexistent. She helped to find a wider range of research inspiration, by going through my ideas suggesting:
James Welling, Karina Eikatora, Adam Fuss, Roxanne Worthington, Kirk Crippens, Tim Davis and. Elspeth Diederix
Went over my Wizard of Oz concept. And she made me consider a new thought that this link as oz as the first experience of technicolour film for audiences. Is a shift away from, my focus on natural light, and the sun's light. And into the more modern realm of artificial light.
-----Does that change meaning of my concept? Am I going to contrast the difference between the two? Or reimagine mankind enchantment with the gift of light
Progress Tutorial - + Info on how to move forward
Find haven't physically worked out a lot of my concepts in my project. And so now my thoughts are ahead of my physical project. i.e. Discussed Wizard of Oz concept with Francis, heavily researched the film itself but haven't come to exploring the idea practically. All the ideas remain stuck in my head, and because I'm behind my schedule, I'm too busy catching up filling in the gaps to fnd time to progress forward. Think the approach of putting physical activities in a separate sketchbook to then filter into work, was unhelpful. Although in fairness I hadn't worked my idea out yet completely I didn't give myself time to explore it visually.
Feel using both right and left side of my brain, feel like my creative flow and thought pattern is clashing as I'm trying to do work. Feel as though it's causing my creative flow to be hindered, stopped and ran dry.
-----This strategy isn't working for me? Why not? What do I need to change in order to fix my approach. Discuss a strategy change needed in order to fix this
1. Feel overwhelmed by amount of work expected to do whilst juggling with other priorities. How can I cut corners? Or save time?n
2. Need to not give 100% to every task I dedicate myself to. Feel a desire to always excel in every task I put myself too. And if it doesn't work out, that the entire project wasn't worth it. Do not have the luxury of time for this to become my default method
Thinking about what I've done practically today, think it's good I've taken a more freeing approach to collage not attempting to place everything down perfectly. But finding it difficult to turn this project from the thoughts in my head to something material. Difficult to visualise my concepts e.g. of light as an enchanting entity. Partly because some of my drawings, like those from the National History Musuem's collection of crystals are too flat, don't convey the 3D quality of what I'm drawing.
----How to combat this? Develop my attention to tone in my drawing or use 3D materials to replicate this feeling.
15/09/2019 - Pauline
By breaking up my Friday, into a time management strategy it helped as a visual cue for me to understand how much time I have left in a day. And how to break it up so I can use my time effectively to be productive but also when to schedule breaks and give myself time off.
15/09/2019 - journey home
On my train back, used the Polar app to experiment with colour and expose research images. From talk with Pauline on time management, decided to use 1hr 30 minute journey home effectively by creating work.
Just experimenting on the app. The overlay tool allowed me to create these intense colour variations of an image. inspired by morning research into Thermography, as a different way of perceiving the objects around us through heat waves. The experiments radically increased the vibrancy of image
-----i.e. having the effect of making the wicked witch of the west's hands seem increasingly menacing.
Looking back at crystal research, decided to change strategy and do some practical experimentation in response. Using the acrylic skins idea that hadn't worked so well, instead used PVA glue, rhinestones and glitter to make into mini heaps of fun. Like this experimental approach I adapted, pushed me to respond in a more instinctive manner to the reach. And brought in a more 3D element, that prior to today I had described my work as lacking.
Smashed up parts of old necklace etc
Because I'm often travelling, have been using my phone's camera a lot more lately. Plus downloaded apps like Polar and a Thermal camera as a way of rendering images on the go. Has been a successful approach to engaging myself creatively when not in the studio or workplace. Keeps me eager for the times I do have to create material work.
-----Plan tomorrow to print off these experiments and manipulate into a more tactile manner
Today focused on sketchbook work. Tried to fill in the gaps of my book with previously missing development. Feel sketchbook and sample development are 1st runner and 17th runner in the same race at the moment; my sketchbook is always behind my practical development. I guess because the sketchbook is a documentation of development, so I am completing it secondary to the physical experimentation. Need to fuse this journey together better. Plus really start to create more samples at this point in the project. Consider what materials to use:
------ Plastics - they can have the opaque, translucent, reflective quality to them that's relevant to my project on light. Could also use the wood workshop as hub for experimentation
-------Resins - may take too long to dry. Takes three days to harden and already PVA creations frustrate me because I did them on Saturday and they're still not dry.
What am I going to make? Explore fusion between textiles and jewellery possibly. Use jewellery making techniques for creations. Thinking along the lines of sculptural outcome this time. Always previously designed for the body exclusively. But due to the fact my projects have related people in some way. The mystic of light is a more abstract connection to humanity, as in it's what we see not what we wear.
AM activity: Sculpture
Was in the sculpture workshop ran by Katie. Just kind of let loose, was fun to experiment with the colours of the rainbow, twisting and wrapping yarn to create this pulled out wall hanging. Jessie commented how it was a clever way to illustrate light by pulling the yarns off from the wall and stretched onto the green chair. Actually wasn't a conscious decision for the strips of yarn to appear like streaks of sunbeams , but interesting to hear she interpreted the effect to mean that. Not much technique was involved in the temporary structures creation, so too improve upon if to do this again , I should research textile artists that create wall hangings and analyse their techniques. Vaguely reminded me of the Native American dreamcatchers with the strips of multicoloured yarn, could research and ties nicely into my them about the mystic and magical.
-----Practical Experiment - create mini sample wall hangings, using a round loom. Could also take my slinky and in each loop, warp thread in the interior.
PM Activity: Knit
Never used knitting technique before nor the stitch workshop (excluding my induction tutorial). Pushed myself out of my comfort zone. Used the Wicked Witch of the East's striped stockings that peer out from under Dorothy's house after she squashes her, as visual inspiration. + Susanna Lewis fabulous Oz stockings. Was the first time using a knit machine, so was a bit patchy but actually found the holes and ladders quite endearing. Was a fun technique to try out and could relate to my project. Gave me the idea of creating this tapestry for my final outcome, tapestry of light.
Katie commented: What's the narrative? so far it's about the mystic of light, and my journey has been trying to encapsulate this magic. How can I better portray this enchantment? Final outcome has to do just that, make you go wow dazzle your eyes as a marvel of light. My aim is for my project to end in a piece that changes how you feel, visually engaging over the Art's commentary. Does it need to have a commentary, don't feel the voice/opinion of the artist (me) is that relevant. Will discuss with Katie. Plus integral to my project is the mystic so how can I explain, something inexplainable and hence why magical, into a narrative.
Weave Samples. - the Yellow Brick Road
Wasn't an all to productive morning. Began by completing sketchbook research work, figured because my sketchbook documentation is behind my physical project, that I should use the time of filling research gaps to also create further development. This helped me when completing my second page today, because I felt I was being more interpretive. By manipulating my research i.e. playing with the images of the witch's hands I'd rendered in the Polar app. As opposed to just placing my research in my book. Took part in the hand knitting workshop with Francis in the morning, was first time trying Hand knitting. Had many attempts of failing and trying again, but nothing seemed to work.
-------This failure in being able to achieve a knitted piece, sort of filtered into the rest of my day. On reflection, I can see how I internalised my failure at hand knitting as my own failure. And allowed this to demotivate myself.
Also attended the machine knit workshop with Patricia, she showed my this new curved/combo thread technique, creating this pockets of colour in the knitting. But. when I attempted to do the technique myself it didn't work out, partly because I didn't feel I had time to absorb it because she did it so quickly. And additionally I only began knitting yesterday, and am not at the technical level to achieve those techniques just yet. With not a lot of time left, but a desire to create a rainbow, gradient knit. I used this gradual technique of integrating new threads into the knit machine by, threading two colours at a time in between patches. Actually really like the outcome, and what is successful was the mixed use of different types of thread. -( all to represent the rainbow and spectrum of light)Was slightly limited in my colour palette selection, but feel this could be used somehow in my project. Just don't know how yet or how I could use knit, when the workshop closes over the Easter break.
In deconstructing image of Dorothy's red slippers and the witch's hands found a clear juxtapositon between good versus evil, marked even clearer by the sharp contrast in colour: green and red. Tried exploring this opposing force of evil in my sketchbook, by manipulating the hands through colour and creating my own witch hand using an abandoned washing up glove. But the outcome of the glove wasn't what I imagined it to be, looked like some prop from a yr6 school play. However, instead of abandoning the outcome completely, I cut parts of it up and used it for the collage ideas.
------began collaging key aspects from my research altogether. Because need my project to be travelling in a sysynced direction. Looking back over it, find a lot of it seems displaced. My aim now is to filter the research into a specific direction. [....what is that direction?]
the glove that didn't work
AM - Morning
Went through assessment criteria as a group with Fashion students as well. Felt like the teachers were attempting to kick in the motivation by overwhelming us with the rigidity of the grading. e.g. if you get Distinction in all areas but merit in one, your entire grade gets pulled down to Merit. Was useful however, to talk through my work with in a group of 4 [2 Textiles and 2 fashion], particularly with unfamiliar faces as they could give me a more objective critique. in assessing each others work we could see the weaker aspects of work clearer. Most of us had aspects of 7.1 and 7.2 missing because we hadn't reached this stage of planning our final outcome exactly yet. Gave us all a kick up the bum realising we only have 2 weeks and a bit left before the exhibition deadline, realised the importance of planning my time in order to meet deadlines. On reflection definitely have neglected this part of the process so far, ironically because I don't feel I've had time to strategically plan my time expenditure (oh the irony).
------overall as a peer group, the aspects of thinking ahead were our weakest. Made me come to the realisation that daily reflection needs to consider the future plan as well as the reflection on the day.
Peer critique was useful as well to pick each other's brains on projects, gave me more ideas of artists to research i.e. Maeve recommended I visit the V&A's photography centre. That has collection of photos moving from black and white to colour. Discussing project with them, realised I've neglected dissecting the darkness in my work, as the antithesis to light, I think it's integral I work this idea out in my book. Play with shadows and contrast, I did touch on it in the contrast between good and evil, Dorothy and the Witch, in the Wizard of Oz. But look at physical manifestation of the dark; night sky, shadows, twilight etc.
PM - Afternoon
Had discussion with Katie on project, ran through ideas of where I need to go next. She understood how I've been trying to visualise my concept, and fix the magic of light to a physical manifestation e.g. through the imaginative film Oz. We ran through ways I can push this further. She commented I need to push it further beyond Oz, as a final visualisation into my own dimension. Should go back to my proposal look at Carlos Cruz Diez gradient of colour and stripes, and combine this gradient of spectrum into my own work. Looking at translating the Wicked witch of the East's striped stockings to create a blend /gradient of colour. One fading from one to the other.
-------List of notes from conversation with Katie:
Light versus Dark
Experience of colour --- immerse yourself into the experience. Just like when reading a book/watching a film and forget your just a watcher but continue to get wrapped up in the story and feel genuine emotions for the characters involved.
Sculptural idea. Projecting shadows onto form and shadows
Tracey Emin - neon lights, scrawny text + God's own junkyard, Walthamstow
Sculptural textile world - stockings become apart of set outcome
Movements of colour, abstract + blends f colour
*mobiles- [definiton] -a decorative structure that is suspended so as to turn freely in the air. "brightly coloured mobiles rotated from the ceiling" . Usually for babies cot to keep them entertained, - research. Like how we have to look up to the sun to see in the sky, something above us.
assessment criteria task - own critique of work
25/03/2019 - Activity Katie suggested to experiment with colour perception. not all too successful but like the idea of building up these layers that filer your perception
Asked to plan/consider/design final outcome. What's it going to be for? What space will it operate in?
Used the stitch workshop, as today was the last chance to us it. Finished my rainbow weave, -"somewhere over the rainbow" inspired. The colours available to weave with were quite soft, not horrible but my aim was to depict the vibrancy of the rainbow not the gentle edges. Additionally the white warp of the weaving brings out the softness of the colours, had it been a bright orange it would've intensified them. Won't disregard, I'm refusing to throw away work and start again that attitude is dead and gone, plus the rows of weft in the weaving sort of links to this idea of stripes I've been exploring in my sketchbook. Stripes and gradients representing bars of colour and spectrum of light. Would like to keep working onto the weave actually, adding more stitch and texture, using mixed media and an array of media to elevate it from its flatness.
----Could combine elements of PVA gems into the weave? Or lost and found objects.
[Night before] - I began manipulating images taken of stripy machine knit samples. Following Kate's advice yesterday, to I'm now taken elements from my sketchbook that have this sort of effect of stripes and lines. Pushing it into conveying how we perceive light, considering those science diagrams of light perception as a reflection of light. And also using software image rendering as a modern tool, for changing and extracting parts of what I see in an image.
Chat with Frances - confirmed that this stripe idea is heading in a stronger direction than the knits alone. Moving into a print based project. Discussed what my final outcome will be. inspired by Kerstin Brätsch large scale hanging abstract oil paintings, I want to create something of this same sort of nature. That provides an experience of colour to the viewer. Think it's also important that the outcome is quite abstract, because my work is based upon the mystic of light. And so fundamentally the mystic defines something unfathomable, so my outcome needs to have that parody of enchanting the viewer without them understanding why, to it.
Photos at end of the day- used golden hour, 5pm as the sun sets and hits the classroom with a spectacle of light, as opportunity to take some photos of the sun through layers of translucent material. Looking at how the suns beams are obstructed by the plastic, and finding the beauty in how the sun caused a dishwashing rag to dazzle.
What to do tomorrow:
- -Going to V&A: photo galleries - more research
- -National Gallery: Sorello : Master of Light - ExhibitIon [2-5pm slot]
- Sketchbook work
Went on a gallery visit today, to the V&A Photography centre and to the National Gallery to see the Sorolla: 'Master of Light' exhibition. Feeling pigeonholed in my creativity, stuck in the drum of my routine. Felt I needed to explore London and what's around me to be inspired to create. How did they help me?
V&A Visit Photography Centre:
- Stereographs - 3D image created when two images of same subject matter taken at different angles and then placed together. DEFINITION : a pair of stereoscopic pictures or a picture composed of two superposed stereoscopic images that gives a three-dimensional effect when viewed with a stereoscope or special spectacles.
- -----Made me consider perception, and how photography can be used to manipulate the truth or change an experience of something. Looking at the Stereographs through the spectacles you really felt immersed in those photos from the 19th century. Could this transpire In to my work? Could be apart of how I style/photograph final piece. If I had come to the photography centre earlier in my project, it might've shifted the direction of my project into using photography as a way to manipulate light. Particularly as film cameras mimic the way we perceive light.
Julia Margaret Cameron (1815 - 79) - Pomona 1872 - Alice Liddell photographed she'd modelled for Lewis Carroll and inspired his novel : Alice in Wonderland. in this image she was posing as a Roman goddess of orchards.How did this influence me?
----Inspired me to for post-creation ideas, could style my own hanging textile, in set inspired by the Wizard of Oz, place the creation back into it's creation.
What Next: Plan for this week is to create hanging prints for my final piece. Plan is to experiment with different techniques using acrylic spills mixed with PVA glue, potentially marbling to create organic shapes that mimic the fluidity of light. I haven't designed a final outcome, but aim through the process of trial and error to discover a technique that works and supersize it to wall hangings.
Moving forward - think it's important I know and begin to contextualise my samples, Visualise what they're for rather than just keep pushing sample development in isolation. Advice: Don't wait to do something like development to the maximum if it's not pushing you forward.
Committed to creating soft sculptural piece/hanging chandelier for final piece. Because a large portion of my journey has been trying to articulate the 'mystic of light' in some way. I need to find an organic way of developing my final piece. I vaguely have the idea of incorporating my PVA gems as apart of the structure, but have yet to design a final design. So Plan is to:
Test PVA creations on a larger scale
Pair this experiment with another technique sampling. Inspired by Brascht and Richter, am gearing towards creating my own signature brushstroke and using that as a sample in my work.
Lamp Shade Structure
Searched for rubber silicone moulds/baking tray as resin moulds. Have moved to resin experimentation, inspired by PVA glue experiments like how they froze/stuck different materials together. Like how a photo captures a moment in one image. Resin is just a more efficient tool to create this effect.
Can't pretend, feel so unmotivated for this project. Last week felt like a battle through a failure of experiments. Makes me realise how much I allow failure to get to myself, see if an experiment doesn't work it's a reflection of my own failings. And begin to doubt myself as a creator. When I know logically part of being an artist is putting up with the failings.
I also took the weekend off working, thinking it would give me a better perspective of my project - "distance makes the heart grow fonder'. But it didn't work, I'm just as stuck in the rut as I was last week. And potentially the worst thing I could've done was stop being creative, as I need to express myself that way everyday in order to let it flow. Secretly I wonder if it was my Jedi way of convincing myself to put off solving the problems of the project. + seeing the size of the underlying chandelier structure I bought has been quite overwhelming, realising the size of the project I've taken on. I have 5 days left till the Exhibition deadline and all I currently want to do is be saturated into the abyss of a black hole. BUT how can I solve this dilemma of gloom?
- Eliminate distractions. Delete Youtube, don't go on my phone first thing in the morning. It's not that I don't already know this is bad, it's about breaking the cycle of the bad habit.
- Design final design in sketchbook. Looking at the structure I've bought as fundamental to my design.
- Rummage through our garage for the toolbox of pliers and etc. Will allow me to consider to what lengths I can manipulate this structure. Don't have a workshop available but do have a garage.
- Get out the house. Feel suffocating in it right now. Especially since my siblings are off for easter break, so everyone in the house means I don't have my own space.
- Write down all and any ideas. Don't allow them to fill up my headspace - there is a cathartic element to writing down anything on my mind.
- In designs figure out what my structure will look like. Haven't committed to hanging chandelier? Having now bought a lamp shape? could be a hanging lamp?
Day of shopping getting tools to enable myself to build this spectacle: Pliers, shears, Pva glue lots of it, Glitter Rhinestones
Created resin donut shapes. Filled with glitter, had planned to dye them as well but in a rush for time, decided to cut corners.
Problem solve: Volume of each donut mould = 75ml. 6 in each tray =450 ml resin needed for one tray. -----had only bought 300ml resin. Decided to fill each tray as sparingly as possible, spreading out the resin, so I could create more shapes.
Draping shapes onto the structure and my samples, I realised how flat my piece could look, maybe consider ways of making more 3D, texturised samples? : Hanging stockings filled with beads, drawing from my initial idea of the Wicked witch of the East? Some sort of bead hanging in the centre - but would take a while to create. More resin shapes, to fill the space?
PVC Paint Strips - Blown up they look so much better than I could've imagined. Time planning, I didn't follow a strategy, like to divide my time in the day into 2 sections Morning and Afternoon. However, now working at a speed that I am optimistic I'll finish by Monday next week. On larger scale, also stained glass windows
Exhibition label - Aim of outcome: to engage viewers eyes with the refractions of colour and light.
-----need outcome to be almost overwhelming, full that the brim, want my structure to be heaving with Glitter; a glitter assault on the eyes. Mimicking the effect when you stare directly at the sun and it hurts your eyes.
Haven't met targets of finishing before exhibition deadline but just glad to now be enjoying my project, not weighed down in pessimism.
14/04 - 15/04/2019
With very little time till the photoshoot, my chandelier idea not even close to creation. But didn't want to give up and find myself defeated. So came up with the idea of putting my dried samples onto the bad, into a glitter bra. Realise the idea is totally unrelated to the project, but thought for the photo book with all our work and the exhibition I might as well make something.
"4 the Photoshoot"
Didn't get any of work in exhibition - was a bit of a blow especially when pretty much everyone else around me got at least one piece of work in. Has this knocked my stride? How come? If so will I be ready for an onslaught of rejection I'll face in the industry.
----- Am I measuring the success of a project with the approval of others. So what if they didn't like it enough. I am not creating work to win their favour or at least I shouldn't be?
Not going to CSM next year gives me that extra dynamic of not needing to win them over, - I simply don't care. But has that also been an Achilles heel in my project.
Taking photos everyday of my process has been a visual diary. And not using my sketchbook over the past 2 weeks, focusing directly onto practical work. This process of my phone has become a virtual sketchbook.
Day spent finishing last eyelets on plastic sheets
Finally finished work!