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For the first part of my research I focused on artists a guidance for creative direction, I looked into the work of Gustav Klimt and David Wojnarowicz as an influence for surface developments such as screen printing and embellishment due to the graphics and textures of there art work. However as I developed a broader knowledge of artists I became more influenced by the works of Louise Bourgeois and her sculptures I suppose one sculpture in particular was ‘spider -1997’ which I can credit for the influence of working with web like knits that can be found through out my design process and even the final collection. Another artist I found truly inspirational was the work of Kiki smith and her sculpture ‘ temper tantrum’ and although it didn't have a high influence on my final designs I did use the surface techniques such as patch work stitching in some of my initial design ideas.


The final part of my secondary research was a brief insight into designers who had also been inspired by witch craft amongst the few hand full I could find the 2 most influential would have to have been ; Recent graduate Beatrice Newman because not only could I source an idea of silhouette but also a strong sense of textiles direction in which I wanted to take my final collection. Finally the second designer I personally felt I could relate to my initial design route to was Craig Lawrence who used strong gothic influences for his a/w 2012 portrayed through knits. Other designers Ilooked at where, dolce and cabana, Gucci and jimmy D.


The first part of my primary research I stumbled across an exhibition at the walker art gallery by John Kirkby a local born artist the exhibition specifically focussed on surrealism whilst exploring in depth the concepts of sexual orientation through generism through his paintings whilst other works brushed upon death and religion. For me I was intrigued by the odd sculptures and paintings in Kirkby's exhibition personally the textures and expressions of his hanging head sculptures I would of loved to have used them as prints in my design process but already had my heart set on using textiles and textures such as knits .


Another exhibition I visited during the first project of the brief was a cultural exhibition produce by a local community centre in Toxteth a part of the city known for its diverse racial mix and street gang related problems. The people of the area created a small craft exhibition which was rich in textural use and I found there out take on hooded ‘thugs’ to be inspirational comparing them to masked demons which I thought could be related to witch craft due to saintanical worship which in away is ironic because the local gangs prize there reputation on doing bad things. Relating back to textures I particularly liked the ragging effect and thought back to artist Kiki Smiths ragging effect in her temper tantrum sculpture and initiated this effect in my designs. If I had longer time on the project to I would of also like to have developed and constructed a few head pieces similar to those in the exhibition.


Perhaps the most gothic place in the city I spent some brief time here collecting imagery skeleton like trees with braches that intertwined each other like distressed knit. I suppose spending time here and observing the surroundings impacted a small piece of my designs like the shapes of the grave stones which can be used as heavy blockish silhouette shapes but all so small details such as low cut arm holes to represent the curves of the graves. I also came across influences in colour and textures stumbling across a dead magpie which some believe to be highly suppositious .


Perhaps the most obvious and most inspirational pieces of my primary research, I visited the witch craft museum in Cornwall over the half term where I discovered a variety of key influences such as ceremonial costumes matched with hollow goats heads for mask it was from this piece I then wanted to experiment with hair in my collection to create my own ceremonial dress. Other key influences where the torture devices I came across such as nooses, shackles and cages in which can be found in my designs as textural influences, fastenings, and Silhouette structures.


I also created some of my own primary research by creating a witch craft styling shoot in the cemetery in which I played on textures I wanted to use in my collection. I also created a Ouija board sĂŠance using tarot cards and candle light for a dramatic more realistic feel to the shoot, afterwards it came across my mind to use tarot cards in my designs as screen printing but I came to the conclusion the process would take to long .


The first 3 textiles samples in order: Burnt chiffon – Inspired by burning at the stake a corporate punishment for those found guilty of witch craft. Layard chiffon: a common embellishment of garments around the 16-18th centaury when witches where at there prime. Bleach burnt fabric: inspired by the weathered conditions of the graves in Liverpool cemetery. Second row of textiles samples: Holey knit : inspired by Louise Bourgeois spider sculpture. Knitted net : inspired by the caging of the dunking chair in witchcraft museum Finger knit: inspired by the intertwined tree braches. Tight knit: inspired by chains from shackles at the museum


Thesecollections was inspired by Louise bourgouise spider note the web like knits, i also took inspiration from the witch craft museum using a cage like silhouette around the waist lines and hair, fringing to represent the ceremonial gowns


These 12 designs are all inspired by my trip to the witch craft museum note my use of hair and use of cage like silhouettes, the use of textiles also represent specific objects iv noted in the evaluation such as the hair embellishments , burnt and distressed chiffon to represent the burning at the stake, chain like knits and objects such as rope nooses for neck fastenings and also allot of work with bound structures like shackles or chains


These particular designs where inspired by my time at Liverpool cemetery I used textures such as messy knits to represent strangling foliage and embellishments such as feathers to represent the dead magpie. Note the blockishness of the capes these silhouettes where mainly inspired by grave stones


Whilst working in the classroom it is always wise to acknowledge and follow health and safety procedures to protect yourself and others around you here are a few procedures you should always follow.

1. Long hair must always be tied back when using any form of machinery 2. backs and jackets must be placed on the coat hangers 3. No food or drink should be consumed in the class 4. Mobile phones should not be used when operating machinery 5. Pins or needles that have pricked the skin or been contaminated must be disposed of 6. Sharp objects such as pencils and scissors should not be thrown across the room or ran with 7. Working areas must be clean and clutter free 8. Students must wear protective clothing when using dyes and bleach 9. Hot craft instruments and machines must be switched off after use 10. Students mustn't run around the classroom encase of trips due to machine wires

design work  

adam roberts design work fmp

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