Module 6 - Evaluation, Records and Authentication

The completed embroidered assessment piece for Module 6 is a wall hanging, based on the design topic of Conservation.

It is fit for purpose as the piece is an embroidered wall hanging, and I feel that it successfully demonstrates my concerns for Global Warming and its effect on Inland Wetlands.

I am extremely happy with the resulting conclusion. The work is very similar to my original design, but has been adapted and evolved slightly as I have noticed exciting design opportunities along the way. I like the way it demonstrates global warming with very subtle colour change effects when heat is applied. I like the way I've left gaps in the reeds and produced a lace like effect in the water, so that light shines through the gaps, hoes and spaces, and I'm happy that I manged to achieve the effect that the work is suspended 'in mid air' by use of the fishing wire.

Hopefully, as the work is suspended within a frame, the hanging could be placed in a window, attracting sunlight. The warmth of the sun would allow the thermochromic colour change effect that is designed to imply Global Warming.

If I were asked to make the hanging again, I think I would pay greater attention to the back of the work, so that it could be hung/displayed in a more central location and be viewed from all directions.

Costing:
Papers for design work £5.00
Paints for design work £5.50
Polyester fabric £3.50
Transfer dyes £4.50
Romeo Aquafilm £15.00
Thread £35.00
Wood £15.00
Screws and brackets £7.50

Total: £91.00

Timing
Design work: 3 hours
Total work spent on embroidery and construction: 115 hours

Authentication:

Storage of Tools and Equipment:

Design work in progress: kept flat, in a large folder.
Completed embroidery: wrapped in acid free tissue paper inside a box.
Completed design work: kept flat, in a large folder.
Papers for design work: kept flat, in a large portfolio.
Inks and paints for design work: kept upright, with lids secure, inside store cupboard.
Glue, bleach & sprays: as above.
Embroidery work in progress: inside a workbox with needles, scissors etc, kept in a store cupboard
away from children and animals.
Fabrics: folded neatly, wrapped in acid free tissue paper and kept flat inside storage basket.
Threads: in special clear storage boxes for easy viewing, separated into colour groups.
Beads, metal threads etc: in acid free tissue paper inside storage box in store cupboard.
Dyes, paints, etc: kept upright, with lids secure, inside store cupboard.
Sewing Machine: kept upright on table in workroom, covered when not in use.
Other electrical equipment: on shelves in store cupboard, flex lightly wound. 

Health and Safety Rules Observed:

Dyes: care must be taken to avoid inhalation of particles when mixing dye powder. A mask should be worn at all times. Ensure dyes are stored out of the reach of children and pets.

Sewing Machine: ensure that lead is kept out of the way to avoid tripping over. make sure chair has a back rest and is at a comfortable height, especially during long periods of sewing.

Scissors: Ensure scissors are stored away safely and kept out of the reach of children

Pins and needles: Ensure pins and needles are kept in their correct cases and cushions. Make sure none fall on the floor and get trodden on.

Iron: Always disconnect iron when not in use, and ensure the lead is kept out of the way to prevent tripping. Store in a safe place when not in use.

Module 6 - Chapter 12 - Study Three Artists

Jae Maries

Jae is a free-lance artist and tutor, and a member of the 62 Group. She has a BA Hons in Fine Art, and a Diploma in Creative Embroidery. She exhibits internationally, and has work in several public collections.

Her work explores the relationship between people and their environment, and more recently interprets her own personal environment, through paint and stitch.

Her preliminary work is mostly done in visual diaries, through symbolic and abstracted mark making, which is then translated into larger series of art works. She enjoys the challenge of combining oil paint with stitched textiles and relishes the contrast between the hands-on, sensual quality of working with fabrics and threads, and the thrill and spontaneity of brush marks.

Barbara Lee Smith

Barbara in an American Mixed Media artist, living in the Pacific North West where she is surrounded by grand and subtle beauty, which has encouraged her to work with the landscape. She 'works from within', reflecting the way she sees nature, and makes visible her emotional response to what she sees, feels and remembers.

Barbara uses a sketchbook as a journal. Along with her sketches, it includes lists of 'what if's?' , ideas, quotes, photo's and things to try. She also uses her sketchbook to record samples of paints, pigments and different technical experiments.

Barbara uses Lutrador as a base for painting and spraying acrylics and silk paints. She layers the Lutrador to form a heavy base where she continues her process by collaging small elements of the same painted material, which are heat fused together to bind and further stiffen the material. She describes her work process as cut, melt, burn, tear, sew, mend and colour.

Once the composition is complete, she then uses an industrial sewing machine to stitch lines to represent a topographic or navigational map that literally and visually ties the various layers of paint and collage together. She stitches from the back to introduce an element of surprise to her work, and also because she uses a rayon thread in the bobbin that introduces a sheen to the surface of the work. This thread would not be strong enough to use in the top of the machine.

Barbara is an honorary member of the Embroiderers Guild.

Sandra Meech

Sandra is originally from Canada, but now lives and works in the UK.

Her work is inspired by nature and a 'sense of place'. Global warming and the effects of Climate Change on forests and trees as well as in the polar regions, has been seen in many series of works over the years.

Sketchbooks, and collage composition of photographs and painted papers are a great influence on how her work evolves, and photography and transferring images onto cloth are a feature of most of her textile work.

Her recent work is based on 20 years of Arctic and Antarctic inspiration, using her passion for ice, icebergs, and glaciers as a creative theme. Her 'Polar Melts' stitch studies use orange thread to reflect the melting ice caused by Climate Change.