Portfolio
Narratives
In this project I didn't want to merely capture a collection of objects which already have their own predisposed symbolism. However, instead I wanted to impose my own narratives and motifs onto my work. Having moved on from looking just at the genre of still life in its entirety, I began to explore fish in a greater depth of analysis. Fish are incredibly interesting and highlight the variances between the class systems. Different fish were eaten by different classes, and today species such as lobster are considered a delicacy, whereas in the past were considered a paupers diet.
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Variations
I have become intrigued by the different forms and shapes of individual fishes, and moreover, how aesthetically pleasing and interesting they are. By comparing and contrasting their individual forms, I created a body of work that documents these variations. I have become interested in the educational aspect of categorizing and documenting how we identify the different species, themes present in a lot of my work. Moreover, how this links to the consumerism and commercialization of this industry.
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I began the process by creating a number of drawings of individual fish. These acted as a starting point and something from which I could form a collection of work. I manipulated the drawings in Photoshop to create a number of interesting patterns that played around with the idea of variations of fish, and taking them out of their natural environment.
Nature Morte
I explored heavily the genre of Still life, or nature morte as it is often referred to, and its connotations of death. Some Still Life paintings can be traced back to the tombs of Ancient Egyptians, providing images of plentiful and bountiful foods, to ensure that the deceased were provided for into the afterlife. An interesting phrase that I found was omnia mars aequent, death makes us equal. I find this an intriguing idea as it questions to what degree people are equal, but also the notion that in the end death is something we all experience, whether we are rich or poor we are equal in that sense.
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Experience
My project has also become enriched in the idea of staging. I am heavily influenced by the way scenes and narratives are formed. How places like fishmarkets or supermarkets display produce to create an alluring and attractive product. By focusing on different fish and their interesting varying forms, I am able to explore texture, tone, colour and style.
Drawing with Thread
Creating my drawings into stitch was something that at first I was very reserved about. Being able to actually convey the form convincingly and be able to fully control the stitches appeared to be quite daunting. However, after a little practice and using a free motion embroidery foot on my sewing machine, I was able to create some interesting and dynamic representations. I began the project by conveying my drawing exactly as it appeared and in thread, creating black and white stylized versions of fish.
As my ideas began to develop I stated to incorporate sheer fabrics to highlight and mimic some of the natural shine preset in fish scales. I created different tones of colour by overlapping the fabric multiple times to build colour intensity. Using colour brought another dimension to the work, a more stylized version. I was able to portray the different varieties of fish, whilst projecting my own narratives onto each piece. Mark making became an integral part of the creation. I was able to fully experiment with the patterns and textures of the fish by overlapping stitches and moving the embroidery hoop in different directions and speeds to create alternating effects. This enabled each fish to be a sort of one off, as it was impossible to completely replicate accidental patterns an marks.
reinvigoration OF MATERIALITY
From the onset, one design took precedent over others. This black and white study of different fish presented in a linear fashion was striking. Therefore, this formed the basis for the final tapestry; multiple fish were incorporated to suggest a fishmongers and dynamism. Tapestry was used as a way of conveying the stylized narrative created through the module. It is a traditional process, however, within this project its technique was manipulated, combining the archaic with the modern, exploring the form and function of textiles, and reinventing it. Artists such as Jan de Vlieger, Debbie Smyth and Meredith Woolnough, show how textiles can be modernized and reinvigorated.
All of the works created were sewn using black thread onto white fabric. This created a somewhat dark undertone to the way fish are perceived and staged to entice customers. Roland Barthes suggests that ‘is it water which makes the object, giving it all the nuances of a calm, planar mobility’, is water simply symbolic of tranquillity, or does it have more sinister connotations that ‘are presented for manipulation’? Water can represent both freedom and danger; consequently the tapestry can be read critically from both perspectives, as well as statically and dynamically. The fish could be regarded as forming part of a shoal, swimming in harmony, the white fabric acts as a metaphor for the water. On the other hand, they appear to be lying unmoving, placed one behind each other reminiscent of a fishmonger display. Arguably they are symbolic of death, danger and destruction. By incorporating ice into the final design it could have reinforced the message of the work, helping the viewer to interpret the fish frozen for our inspection onto cloth, mirroring the still life tradition.
drawing with stitch
This project aims to reinvigorate the genre of still life, making it a more contemporary and insightful study of the world around us.
textiles
experimentation
As the module progressed, the project began to move away from depicting singular fish into creating a complex pattern involving numerous varying types. There were a number of studies made both physically and digitally, that experimented with the compositions of multiple fish. Photoshop was a useful tool as it enabled the designs to be manipulated easily, without the labour some task of creating them in stitch. Originally the final piece was intended to be a fishmarket scene; consisting of individual coloured fish displayed using both crates and ice to invoke the setting. Using ice within the work was a suggested idea, it works in conjunction with fish, therefore by incorporating it into the project, and it would strengthen the fishmarkets connotation. However, as the experimentation developed, a less literal idea emerged. It became apparent that themes could be conveyed without a direct replication. Therefore, the earlier processes became important in deciding how the major piece would look. Design was a fundamental part of the methodology, the final piece aimed to create something that was intriguing, alluring and inspired further consideration by the viewer.