E-Portfolio: Molly Walker UCAS ID: 1630682969
Cultural Fusion Project – Initial Research and Illustrations This is my current 4 week project that I am developing within my chosen specialism of Textile Design. This unit is underpinned by the issues surrounding Cultural Appropriation within the fashion and textile industries, which led me to research the topic via the ‘WWD article: Fashion Has Found Beauty in other countries for centuries’. As a result of the brief titled ‘Cultural Fusion’, I wanted to celebrate another culture and decided to fuse Traditional Japanese art and design with aspects of Modern Japanese Culture. My initial work compiles a range of visual research in representation of Japanese culture. I researched traditional artists like Hokusai and the cultural significance of nature, alongside the innovation of technology and the westernisation of Japanese fashion, in modern Japanese society. I began this project by illustrating features of traditional Japanese art using water colour paint.
Cultural Fusion Project – Artist Research & Developmental Paintings Some examples of A3, developmental paintings in which I explored materials, colour, mark making and illustration. My illustrations are inspired by the imagery in traditional Japanese art, which I aimed to contrast with abstract and expressive mark making, inspired by Fiona Rae. After researching Rae, I tried to mimic how she marries gestural marks, clashing colours and detailed illustrations in the same composition. I wanted to convey the vibrancy of Japanese cities through neon colours and abstract backgrounds. I incorporated denim and foil into these paintings to create a contrast between traditional Japanese colours and materials which represent westernisation.
Cultural Fusion Project - Digital Exploration Influenced by the rise of innovation and technology in Japan, I digitally manipulated my developmental paintings in order to resemble the effect of a ‘glitch’. From these edits, I was inspired to print imagery which appeared layered and distorted, subsequently creating a series of visually complex samples. I developed my imagery further, by using squared paper to transform my illustrations into pixelized imagery, in representation of the popularised gaming community in Japan. After manipulating my imagery, I decided that I wanted to use a neon colour palette to convey traditional imagery in a modern style.
Cultural Fusion Project - Developed Samples This slide showcases a series of developed samples. I printed onto a variation of sample sizes in order to explore a range of compositions, negative space and scales of imagery. Some of my samples are printed onto recycled materials, to show a visual difference between traditional fabrics like cotton and westernised materials like denim and plastic. Inspired by an earlier project, I collaged and layered squares of recycled plastic and foil entrapped under transparent plastic into a ‘glitch-like’ composition, using the heat press to bond the plastic to the fabric. I also explored dyeing plastic and screen printing on top. I worked back into my samples using the felting machine to add another layer of colour and texture. I loosely felted excess, neon material into one of my samples in resemblance of blossom trees, which are a prominent feature in traditional Japanese art.
Cultural Fusion Project - Exploration of Weave Within this project, I also explored weave. I chose to incorporate a weave within my collection as a sample for a potential matching ‘rug’, alongside my printed samples. As part of my cultural fusion, I chose to combine the traditional method of weaving, inspired by Sakiori textiles in the 1500s, with westernised materials. I chose to include metal and plastic in representation of current technology innovation in Japan, alongside incorporating denim, inspired by the westernisation of Japanese fashion and the work of designers like Jotaro Saito.
Cultural Fusion Project: Developed Samples This slide showcases my developed samples as a collection. Inspired by the distorted imagery in my edited paintings, I aimed to create designs which reference traditional Japanese imagery in a contemporary style, highlighting computerisation and mechanisation in Japan. I blocked off sections of my screen, in order to layer selective elements of imagery, mirroring a technical malfunction. I analysed design elements, which make a cohesive collection, and utilised them in my work. For example, I ensured that the collection was cohesive through the use of repeated imagery across samples, a limited colour palette and repeated techniques. However, I also wanted my samples to be varied through the use of materials and variety of imagery. Following printing, I have created more cohesion by appliqueing, sections of denim onto my banner, breaking up the complex surface.
Fashion/Textiles Rotation – ‘Making Something out of Nothing’ One week project focusing on sustainability in fashion and textiles. To gain contextual knowledge of this topic, I watched British Vogue's online conference titled ‘The Future of Creativity’, which gave me an insight into the impact and possible solutions of overconsumption. I decided to recycle a dress into a shocking, political statement, highlighting the taboo which still surrounds menstruation. I aimed to communicate that periods are not something that women should feel embarrassed about but rather an aspect of what makes women beautiful. I glamourized periods by illustrating a uterus, embellished with flowers, onto fabric using an open screen, incorporating red glitter on ‘bloody’ tampons and constructing frilly, fabric vaginas, which I applied to the neckline of the dress. I was introduced to screen printing, machine embroidery, surface manipulation, embellishment and applique. Influenced by the textile artist Ghada Amer, I worked back into my printed illustration using machine embroidery. This was influenced by the fact that, embroidery is a medium taken up by feminist artists since the 1970s, as a political tool associated with traditional women's work and womanhood.
Fashion/Textiles Rotation - Outcome Taking further inspiration from Ghada Amer, I added sections of red thread to areas of the dress, in representation of blood flowing across the garment, unifying the different textile processes. I styled, directed and photographed self-portraits which convey the dress as a political campaign and communicate the concept of the dress. I aimed to take the pictures in an editorial, self-portrait style, inspired by controversial campaigns by brands like Behance. In doing this, I created matching tampon earrings and incorporated the flowers used on the dress in my makeup.
‘Plastic Fantastic’ Brief: Developmental Samples Design development for project titled ‘Plastic Fantastic’, using geometric shapes, focusing on plastic waste and the need for a more sustainable approach to textile design. I began by exploring possible compositions within my sketchbook using watercolour paint and oil pastels. In doing this, I explored line, colour, shape and space. This page showcases my developed samples. I worked into my original samples by layering screen printed shapes on top of the plastic, alongside printing onto the fabric first and then using the heat press afterwards. I also used the sewing machine to embroider lines and shapes into the compositions. As I aimed to create a series of cohesive samples, I used a paper window to highlight areas of my samples which I thought worked well and recreated the compositions. This resulted in simplified samples, containing similar characteristics, creating a cohesive series.
‘Plastic Fantastic’ Brief: Putting Samples into Repeat I developed repeat patterns by scanning in my samples or taking inspiration from selective elements and repeating them digitally. This was my favourite part of the process as it enabled me to break down my compositions and highlighted the commercial potential of my samples.
‘Plastic Fantastic Brief’ - Fashion Collection Visualisation I used my repeat patterns to create a visualisation of a potential fashion collection. I researched contemporary styles of fashion illustration, exploring collage, drawing and painting. Due to the geometric nature of the prints, I took inspiration from the heavy layering and angular elements within the Commes des Garcons Spring/Summer 2015 collection. In doing this, I explored varying the scale of pattern and the way my designs can be applicable in a commercial setting.
Chair Project – Development The aim of this project was to design and create a functional innovative or a non-functional sculptural chair out of found materials. The inspiration for my design emerged from the natural compositions I photographed in my primary research. I was fascinated by the way materials naturally layer and intertwine in the outside world, which I aimed to mimic in my own design. I researched artists who explored stacking materials in abstract and unconventional ways, such as Danny Lane and Tony Cragg, whilst also being inspired by Andy Goldsworthy’s natural sculptures. I began by manipulating paper into abstract forms, which pushed the boundaries of ‘traditional’ furniture. Inspired by Danny Lane’s use of glass, I wanted to incorporate sea glass in my design to make a sculptural chair which could potentially light up with a light source inside. Following my first outcome, based on a stool, I realised that I wanted to create something more sculptural and impractical. I found that the use of sea glass as the base of the chair was successful, but the wooden seat shadowed the glass and made the overall design appear ‘stumpy’. As seen from the images, I then explored a range of potential alternatives for a seat.
Chair Project - Outcome My final outcome depicts a sculptural chair, which showcases the potential of using found and recycled materials within my practice. Inspired by Tony Cragg, I used the sea glass in a more sculptural, abstract way to create fluid, stacked forms. The seat of the chair was drastically adapted to mirror a nest, which enables light to pass through similarly to the glass. In doing this, I created a chair with a juxtaposition between an artificial material which has been naturally manipulated and a natural material. I intended for the chair to be displayed on a larger scale, outside, mimicking Goldsworthy’s sculptures which blend into the environment. This would allow the weather, light and living organisms to manipulate the chair and allow it to be returned to nature.
Brierley Hill Project - Research & Development This project is a live brief commissioned by Discover Dudley to explore pattern in the local area and produce designs that can be used on printed textile items and sold at a local pop-up shop. The aim of the brief was to promote the deindustrialised town in a positive way, enabling me to have experience working alongside a client. The project was initiated by researching the history and culture of the town, beside participating in a photo walk of the area with the artist ‘Black Country Type’. I focused on collecting imagery which visualised repeat patterns, textures, shapes, architecture and symbols within the environment. I began the project by illustrating elements of my photography through lino-printing, collage and mark making.
Brierley Hill Project - Developed Surface Patterns I aimed to embrace the comical, black country stereotype through the term ‘yam’, enabling residents to take ownership of their heritage, and promote a celebration of black country culture. Taking inspiration from the sculpture of the ‘Briar Rose’, by Steve Field, in the centre of the town, I illustrated roses throughout my designs. During the development of my work, I explored screen printing, collage, stencilling, painting, lino printing and mono-printing, in order to create a range of mixed media samples. I selected a colour palette inspired by the Black Country Flag, creating representation of their industrial heritage through colour.
I took elements of my designs and created bold, repeat, surface textile patterns. I used small, simple aspects of my compositions, rather than complicated designs, to create prints inspired by the environment within Brierley Hill. Brierley Hill Project- Repeat Patterns
Fine Art Rotation - Developmental Studies & Research This is a fine art project with the aim of translating a historical painting in the style of a contemporary artist. I chose to rework the painting ‘The Holy Trinity, St Jerome and Two Saints’ by Andrea del Castagno, in the style of Elly Smallwood. The centre of the painting depicts St Jerome flogging himself by beating his chest with a stone in self flagellation. I chose to recreate the face of St Jerome, as I wanted to explore how I could highlight the suffering of St Jerome through the application of thick, warm tones, particularly around the wounds of his chest. Before working on canvas, I produced some exploratory paintings in my sketchbook, focusing on mimicking her brushstrokes and colour palette.
Fine Art Rotation - Outcome The final outcome depicts an A4 portrait of St Jerome using, oil paint and charcoal. The piece was developed by using charcoal to draw the outline of the composition and highlight the detail in the right side of the face. In the style of Smallwood, I selectively painted into areas of the face using square, flat brushes to mimic her abstracted and unblended paint application. I used warm tones to emphasized the pain of St Jerome and the cuts on his chest. For this, I explored scraping red paint across the chest with palette knives to add texture and dimension to the surface of the painting.
Visual Communication - Zine Research & Development Visual communication project, in which I created an A5 fanzine based on a fashion collection. I chose to base my Zine on Charles Jeffrey’s Spring/Summer 2019, Menswear Collection. The collection is part of Jeffrey’s ‘Loverboy’ brand, which is characterised by a clash of references to Jeffreys Scottish heritage, Space, London’s queer nightlife and contemporary themes of gender, identity and diversity. As I result of this, I wanted to create a fun, expressive zine which empowered viewers to be themselves and express their individuality. I referenced design elements of the collection by analysing the surface pattern of the garments and recreating them through mark making. I took inspiration from a pattern seen on one of the garments, which depicted circular figures, and illustrated them on several pages throughout my zine to make it appear cohesive and co-ordinated.
Visual Communication – Zine Throughout this project, I explored a variety of techniques to aid me in creating a zine which represented Jeffrey’s collection conceptually and visually. I explored mono-printing, gel plate transfer printing, illustration, collage and embroidery. The collection breaks down societal barriers by posing men in makeup, stereotypically ‘feminine’ patterns and the placement of breasts on a ‘men's’ jumper. From the cover of my zine, there is an immediate reference to the boundaries surrounding gender via the collage of breasts onto a stereotypical, ‘masculine’ man. I was influenced by the graphic illustrator Alice Isaac, to create disorderly, low-fi compositions, which convey the energy and vibrancy of the queer club scene. I was also inspired to combine the digital with the handmade, by exploring collage and digitally manipulated imagery.