Textiles 1: Ideas and Processes Nina O'Connor

Learning Log

Formative Feedback IAP1

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On Thursday 22nd June,I had my formative feedback on IAP1 via video tutorial.  I find this more helpful than a written report as it removes the potential for misunderstanding.  I took notes during the tutorial and my tutor, Cari Morton quickly followed up with a written synopsis of our conversation.

Video feedback notes

Research, nature of craft.  I haven’t defined what craft is?  Continue to reflect on craft as a context.

Felted textiles are usually in a craft context.  Felt is generally associated with a craft shop. 

Neto has a fine art background with a textile sensibility.  Bella Leonard has a textile/craft association but it is the scale and material that make it.

Harriet Popham no context, did i just like it?

Interesting, good level of personal reflection.  Important to relate work and research/enquire art in a contemporary context.

I have said it isn’t useful to give work a label,  Cari suggests I force myself to label as it might make me look more closely.

It can be a visual context – when critiquing context – is it Art gallery, fashion, commission, commercial space etc?

Like first piece thought it would be nice photographed with light coming through.  It didn’t reflect the scale and spacial elements to Bella’s work.

Looking at my journey.  Feelings, senses were referred to.

How did my feelings manifest in my work?

Thinking of Richard Serra’s list, to hole, holes can be made aggressively, showing anger.

Don’t make learning log too personal although it is ok if within an academic response to work.

Journey was visual mist etc. but words ravaged, torn , ripped stood out?  try to harness the emotions.  How did the emotions/visual emotions feed into the work.

Restraint and control, crispness and cleanness is my work.

Looking at Words and Serra, when out of my comfort zone, I go for colour, texture and pattern to offer alternative interest rather than pushing how I might represent the word.

With ‘weave’ I changed colour and material but didn’t challenge what weave could be.

‘Fold and enclose’ were structurally more interesting. – is that a comfort zone because it is something I’m more familiar with?

Try to work past control and restraint.  Push boundaries, know what’s appropriate.  I am in a position to push boundaries.

It’s ok for early testing to be badly made.

There was a sloppy craft trend in galleries, where badly crafted items were produced on purpose.

Talked about sketchbook, how to contain this module, media can be tested in sketch/workbook and the full mental journey should be shown.

Some samples might not be permanent eg. Throwing gravel, cutting grass, could be transient.

Pushing Boundaries

Asked how?

Establish my current boundaries and push those.

What materials do I use, could I use different materials to push my boundaries.

I am an interesting, curious student.  Don’t be a one trick pony and consider all outcomes in book form as this constrains the outcome.  OCA are looking for different and multiple outcomes.

Whereas, interestingly, Matthew Harris had commented that it was good that I had found my constraint in books.

A refinement of ideas not a final outcome.

Synthesis – a refined body of work. 

What are my boundaries, neat and tidy, scale to fit my desk?

If using books, look for a more conceptual approach.  Look at Sarah Brown who stitched for 84 hours like a bookmaker in the 1700’s.

Think more broadly, who else is exploring books as ideas.

Look at sarahbrown.info.

Looking at Music exercise.

About balance, representations and sensory?

Analyse relevance of materials in response to what I was hearing. 

How far could it have been pushed?

Could the music be more dominant that the accuracy of the drawings?

I wondered if there was a conflict between what I want to do or feel I have to do or is the conflict actually true –  that my brain/thoughts are confused?

What do I need to do to make this work for me?

How can I dissect the sounds?

Cari has taught Foundation:   to encourage spontaneous creativity in response to music, a 10 second clip was played repeatedly, the sounds dissected and a dictionary of marks relating to the different instruments was built up in preparation to responding to the whole piece. (a bit like Mark Cazalet getting us to mix the colours before applying them to the drawing.)

She liked the energy in the marks, part of the process?  Restraint in drawing?  Liked the yellow and blue, good colour sense and the sharpie drawing.


Tutor Feedback:

Nina O’Connor 513049 IAP A1 Feedback (1)



One thought on “Formative Feedback IAP1

  1. Hi Nina – many good pointers to work from in those notes. Good luck with the next phase.

    Liked by 1 person

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