A week of critiques

This week I met with Deborah, Lea, and Amanda Small.
And, as one might expect, got a lot of really helpful feedback.

First, with Deborah: since she has known my painting style and worked with me on my previous Independent Study series from Fall Quarter, we were really able to delve into my work as a long-term evolution. She had a lot of great comments on how she can see the trajectory of my works and appreciates the clarity and focus in my Theory, History, Research Paper. We talked a lot about how maybe my real interest in fashion lies in textiles and patterning, and she lent me a great book called "Designing Women of Postwar Britain" featuring patterning and textiles from that era. We also talked about my persisting interest in the female form and ideals of beauty--although secondary to the main theme of elevating fashion as an art form, they definitely relate. And, again, gave me a great book I've been meaning to buy (after Sarah showed it to me earlier in the quarter): Regarding Beauty. I'm going to read these in depth and research some of the artists whose work appeals to me. We also looked at quilters after I talked to her about my latest idea to incorporate fabric into my work: through creating a larger than life wall hanging in the style of a tapestry.

My main concern in doing the hanging fabric tapestry was that initially I was planning on sourcing certain textiles and fabrics with a color palette to create a mood to match the model I would paint onto the fabric. However, using smaller pieces to create a larger one, I wanted to steer clear from it appearing "quilted" or too craft-oriented.

This led very well into my critique with Lea. She agreed that in commenting on "high fashion" everything about the project and it's execution should be sleek and clean. The stitched fabrics and mixed patterns would read as too referential to quilting instead of fashion. She suggested that I used plain draping muslin and treat or experiment with creating different patterns and effects on the fabric myself. Aside from just painting on the fabric, I could stitch, embroider, pull, and twist the fabric. She generously gave me a few yards of muslin which I will hang in my space and begin to experiment with. She stressed it's important, with this type of concept, to experiment close to the scale I want.

With Amanda Small, coming from a completely different mindset and background, she had some great insight as to general process. She said she was really interested in my previous series of paintings from fall quarter, but thinks I should spend some time researching patterning and textiles. From my pieces, she agreed with Deborah, that it seems I am most interested in textiles specifically in reference to fashion. With history of textiles being as rich as history of art, she said that it's important to not just be arbitrary or visual with my patterning choices but very thoughtful and the research will help with that. At the same time she agreed with Lea in that I need to just go with the fabric project I'm interested in and do a panel--embroider, dye, stitch, paint and see what happens. Basically--do research and do work. The other thing she said was important was to really establish my personal voice and investment in these issues because that is what will make the pieces 'great' instead of 'just ok'. And honestly that's the hardest part for me, but hopefully I'll get there.