Finding Lines Exhibition – Derby Museum

The title of this exhibition is self descriptive of the works within and was one that started apparently with a series of creative acts that seems to have begun just by capturing the lines created by the curator/exhibitions officer of Derby Museum, Andrea Hadley-Johnson, as she waled through a field of grass. The one photograph created a call for more images that captured lines that appear around us and eventually to the exhibition that concentrates on mark-making and the simple act of drawing.

What immediately appealed to me is the fact that mark-making is one of my weaker areas so this exhibition gave me an opportunity to explore a wide variety of different lines and marks using different media by a varied selection of artists including sketches by some well known names. Below is a small selection of some of the works in the exhibition – I appreciate I have concentrated on the more well-known names and perhaps that is part of my art history background that means that I have wanted to study these pieces but also a feeling that I can take lessons forward from them in conjunction with the work of the contemporary artists also on display.

Joseph Wright. Blot drawing of a landscape. 1785. Ink on paper

I fully admit to having made a bee-line for the work of local artist Joseph Wright whose paintings have their own gallery in Derby Museum.  What I find interesting about this drawing is the primarily horizontal nature of the marks with just the addition of a few vertical or diagonal lines which are suggestive of form and movement – the horizontal marks also suggest form but I feel are also textural and tonal marks.  This sketch feels very much that it may have been a quick preliminary sketch to a larger oil painting and captures the essence of the landscape rather than the intricate detail.

L.S. Lowry. Steelworks. 1960. Chalk on paper

This sketch is a direct contrast to Joseph Wright’s landscape and was done by L.S. Lowry in 1960 and as the title suggests was of the steelworks in an industrial city but instead of using pencils, pens or paints as chosen media the work is done in chalk.  I feel the chalk gives a slightly softer or muted appearance than charcoal – the grey is not as harsh and this helps to create the smokey industrial scene.  I find the combination of smudged tones and sharper descriptive lines immediately appealing in the scene that the lines and marks used are not overworked – there is nothing there that does not need to be and even the figures are in the match-stick style for which Lowry is so well known but the figures give both a sense of scale and perhaps a sense of life that would otherwise not have been there … yes the steelworks in full use suggest the harsh working life within but the figures reinforce this just that bit further.

If I compare and contrast both of the above images – one in pen and ink is strong, defined and linear despite the subject being landscape whilst the other uses smudged chalk with slightly softer but no less defined lines to create distinct forms and shapes.  The Joseph Wright piece is able to suggest distant hills through lighter, thinner horizontal lines which are enhanced by the thicker horizontal and vertical lines of the trees in the foreground – I know the landscape of Derbyshire well and this scene is suggestive of the High Peak area and I find it gives me a direct lesson in how to capture the scenes I frequently see without the need for colour.  The L.S. Lowry piece is such a direct contrast because of the use of softer chalk to create the marks and smudges of the steelworks – there is a grittiness and harshness in his depiction of the urban landscape.

Henry Moore. At the coal face. 1941-2. Pen, ink, chalk, wax crayon, pencil and scraping on paper

Staying with the theme of heavy industry Henry Moore depicted the scene at a coal face in a very heavily worked piece using a mixture of media.  By using his combination of media he was able to create wide variety of marks that give the impression of depth , textures, form and lines whilst creating the harsh environment of the coal face during World War II – this is the one sketch I would love to go back and study much further as there is a hint of colour that is suggestive of the lack of light down in the mines.  It is frustrating that my photograph is not clearer due to the lights in the gallery reflecting on the glass as the lines and marks cannot be seen as clear as I would like.

Pablo Picasso. Dove of Peace. 1950. Biro on paper

Pablo Picasso’s Dove of Peace is again a complete contrast to the above two works – simply done with red biro in broad sweeping lines.  There is virtually no detail on this dove but only marks made to suggest the form and character of the bird.

Horace Brodzky. Nude. 1937. Pen and ink on paper




These gestural sweeping marks can also be seen in the work of Horace Brodzky with his drawing of a nude female figure.  The marks are bold and linear suggesting the human form whilst not being overly descriptive – there is a simple capture of a reclining figure which leaves a viewer questioning the narrative (or at least that is my perception of this sketch).

I find a direct contrast to the simple lines of Brodzky’s sketch in the work by Gustav Klimt – my photograph unfortunately was not the clearest due to the lights within the exhibition.  The female figure that Klimt has drawn is much more detailed and has a direct eroticism due to the depiction of clothing draping across the woman and also in the way that he has depicted her face – the more detailed softer pencil lines give an indication of character and who this woman and also there is a more direct narrative.

Linda Karshan. 8.6.00. 2000. Graphite on paper

This sketch by Linda Karshan is of an abstract genre – there is no indication in the information of any inspiration or narrative and hence the viewer is able to perceive the sketches and marks in their own individual way. Initially I was unsure about this sketch of repetitive marks but a little research into the artist informs me that the artist’s works reflect the very processes of their making so in this instance the repetitive marks are exactly that i.e. repetitive marks!  I now feel that this process of making marks in this manner is also reminiscent of the pointillism of Georges Seurat albeit in a monochrome and abstract style with no sense of form – the process of pointillism can take on a meditative and rhythmic form in the same way as the works of this contemporary artist.

Liz Atkin’s series of charcoal sketches on newspapers are reflective of the works that she draws on discarded newspapers and gives a way to other passengers.  Information in the Museum booklet on this exhibition reveals that these drawings are both given away as just simple acts of kindness and also to be advocacy for mental health and Compulsive Skin Picking and for me I find this creates a new depth in my understanding of the pieces – art has enabled this artist to recover from her own personal difficulties as it refocuses her mind and keeps her hands occupied and prior to this exhibition the artist had not exhibited any of the drawings in a public space so this in itself maybe forming part of the healing process.  I really loved the combination of marks and the ability to use the charcoal to swiftly sketch scenes (apparently 1 minute sketches) that are both emotive and descriptive – for me I found it was these images that created the strongest emotional response.  The newspaper background itself provides the colour that really punches out the lines and marks of the charcoal and almost grounds the scenes within the newspapers.

Finally I loved the simplicity of the lines and marks of the cloisters of San Gimignano – the artist has given a sense of depth by the depiction in dark harsh marks of the tree in the foreground whilst keeping the lines of the cloisters light and deliberate.

These photographs are just a very small selection as stated above – there were over 60 drawings in all from simple doodles to  The exhibition did as it stated it would – it brought the viewer back to the simple joy of drawing and encourage participation by including paper and drawing tools to enable you to add your own mark to the exhibition whilst also taking away some confidence in mark-making.  The exhibition stated it wanted to show that drawing is a way of expressing emotion and therefore can enhance a sense of well-being and this is certainly shown in the work of Liz Atkin.

At the back of the Museum booklet there is a page titled ‘Card Provocations’ which encourages you to create everyday acts of creativity – simple suggestions such as draw fierce marks, look out of the window and draw what you see or simply draw your finger and these suggestions I will be adding to my noticeboard as a way of warming up for the day or for when my mind goes blank and can work in conjunction with the verbs and words suggested in Exercise 1.5.

What did I learn from this exhibition and what have I  really taken away?  Certainly I have gained a little more confidence in my own mark-making as there is no right or wrong way – my marks are my own way of expressing myself or getting the essence of what I see down on paper.  I have also been able to study the lines and marks of some artists I have long been a fan of – the Joseph Wright sketch was of particular appeal due to his paintings being in the gallery below.  It was fascinating to see the wide range of media used which in turn serves as a reminder to keep working on my sketches using different media to create different marks and perhaps I should set aside an afternoon to create some of the early mark-making exercises of A Creative Approach – it is always productive I feel to sometimes go back to the foundations of drawing skills and revisit them.   This exhibition also served as a simple reminder of why I am sat here typing – I enjoy making art and I enjoy sketching in all its form and sometimes when I get bogged down in study or research I need to remind myself of that fact …. the exhibition takes you back to the simplicity of enjoying being creative.

Footnote:  what is really lovely is the booklet that accompanies the exhibition and which can be purchased in the shop is interactive  – there is an encouragement not just to read about the exhibition but to draw or scribble on it and to use it to be creative … the booklet becomes part of the exhibition and its aims in itself.


Derby Museums. (date unknown).  Finding Lines.  Derby. Derby Museums.  (date unknown).  Linda Karshan [online].  [Date accessed:  August 2017].  Available from:

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Artist research – Jill Bliss

Jill Bliss. Voice of Nature: Mushroom Art. Pinterest

This is a photographer who has come to my attention quite unexpectedly through one of my fellow students in the OCA Textiles Facebook group who felt that my work on fungi reminded her of the work of the photographer Jill Bliss – the student kindly posted the link to an article about her work on the website My Modern Met.

Ms Bliss is lucky enough to live and work in the Pacific Northwest and on her walks arranges a combination of fungi, flora and whatever other botannical elements catch her eye into a series of photographs that range in colour from muted and soft to bright jewel tones that speak of the variety of life that abounds in the environment.   Each photograph takes a variety of fungi and captures them in all their glory and in doing so you find yourself being able to see almost a microcosm of the life in that part of the world.

Jill Bliss. Nature Medley. Pinterest

As I look at these photographs now I do so post-tutor feedback for assignment 5 and consequentially find myself studying the composition and colours.

I find myself drawn to the fact that the colours are carefully arranged so that the accent colours really bring the arrangements to life – there is not too much colour that it confuses your eyes but enough of that accent colour to really focus your attention and calm your mind …. maybe that is what appeals i.e. the fact that these photographs are instantly peaceful and calming whilst retaining interest and fascination.

Jill Bliss. Nature Medley. Pinterest

In each photograph there is a different collection of fungi and the fauna or other botanical pieces and each is arranged almost painterly to build up and create an image that to me reminds me of appliqued fabrics of various patterns or manipulated gathered fine silks that have been carefully arranged on a dress or bodice – I feel there is almost a textile element coming though but fungi and fauna are the textiles of nature so this something for me to consider.

I need to spend time really looking at the website of Ms Bliss and focus my mind on how she arranges her work and the elements she considers important or what she may have left out and include her work amongst the other artists I have studied that my tutor has advised me to take another look at as I refine my samples.


Bliss, J.  (date unknown).  Nature Medley [online].  [Date accessed:  August 2017].  Available from:

Richman-Abdou, K.  2017. Photographer Captures Colourful Mushrooms in Vibrant Arrangments [online].  [Date accessed:  August 2017].  Available from:


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Reflection on tutor report – Assignment 5

Writing this reflection on this tutor report seems almost quite strange – I have worked through this course at a pace that has suited me as it has kept me focused and interested in the work and with my Asperger’s brain that has to be a very good thing!

My tutor report was exactly as I expected with regards to the samples – I knew I was not entirely happy with any of them and had my concerns so I wanted to submit before I did any further refinements.  Suffice to say I have overthought and over egged the pudding – that was my fear in my critical reflections.  My tutor felt the samples were playful and exploratory but that they felt chaotic and thrown together and I totally understand her points – I was aware I was battling through a summer flu bug and on a time constraint and also not really sure how far to take the work or how complex so guess I really did throw everything at them!  My tutor has suggested looking at some of the artists I have researched including Valerie Gardiner, Barbara De Pirro, Billy Kidd and Lindsay Taylor and in particular their compositions and colours so that I can pull back my own work and produce more refined samples …… I feel less will most definitely be more.

With regards to my understanding of the creative processes and appropriate methodologies it seems it has really come together in the course and also my thinking skills have really developed  and hence impacted on my approach to creativity – my tutor has assured me that this will be realised in my making and it happens at different times for everyone.  My tutor was also happy that I have felt that the theme in this course that I chose for my final project is one that is really at the beginning of its creativity and that I want to take it forward not just in my studies but in my working practice – for me fungi are the corals of the land so I know I also want a sea theme to start to be created to run alongside a theme of beauty from decay.

My learning log has apparently demonstrated the aforementioned understanding of the creative process including the value of reflective thinking as well as my critical thinking skills and also analysis of the contextual research but and it is a big BUT it has been suggested I give myself time to make my thinking more focused and refined and consider with more depth my own work and that of others.  After my Skype tutorial in which my tutor recognised the fact that I am quite a deep thinker my fiance admitted to laughing as he had heard this part of our conversation – it seems he often hears the cogs in my brain working even overnight when I am thinking about something or trying to work something  out and I do keep a notebook by my bed as a consequence so my tutor is almost a little too accurate!!  I am aware of a need to restrain my thoughts and really focus my attention and consider simplifying some of my ideas so will take heed of this advice – I think it is a question of what lines can I take out rather than what lines can I add.

My drawing apparently is  working with a less is more approach much better and this is something I am really working on – I need to develop it further and apply it to my sample making.

Lastly it is time to prepare for assessment and hence there are notes at the end of the feedback in how to prepare and to thoroughly check everything including using all my tutor suggestions – this will be done in conjunction with refining my samples along with making a couple of new ones over the coming month.

Overall I am really happy with the feedback – it was exactly as I expected as said at the beginning and I am very much appreciative of the points raised as they make complete sense.  I need to ensure I do not muddy my colours and thing about accent colours or the background colours which enable the foreground to really come forward and pop – these tips will play to my strengths with colour and develop an area I want to be part of my developing personal voice.  I need to go back now and really look at the artists suggested and work on refining the samples whilst also looking in a bit more depth at those artists in terms of composition – the black  backgrounds of the photographs by Billy Kidd are particularly appealing.  I have kept a series of notes taken throughout Skype tutorial and these will be added to my sketchbook work as pointers to think about and really consider.


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Reflection on tutor report – Assignment 4

On the whole this was a relatively straightforward tutor report and one which I breathed a sign of relief over with regards to my essay plan!

The essay plan was my major concern at this stage due to the fact it is a considered reflection on the course and how I have implemented the study of other practitioners into my own work – the study of contemporary practitioners is something I had not really got to grips with prior to this course but suddenly the penny dropped and it made complete sense.  However my tutor was happy with my plan and considered it well thought out and written and suggested I write out my essay in its first draft and submit it to her for initial suggestions prior to submitting assignment 5 – the final version was then to be submitted with the rest of the final assignment.

My work on Projects 5 and 6 with regards to context and the analysing of composition proved to require no amendments or refinements and my tutor was happy with the work done overall in terms of critical thinking and also analysis – I admit I did really enjoy both of these projects and found that the exercises led me through them in a logical order which enabled me to respond accordingly.

I am happy that my use of colour and  my desire to impose a sense of energy in my work is coming across through my sketches and paintings and this is something I want to continue to work on.

My tutor did suggest some further research with regards to Research point 4.1 into where textiles could be found – it was suggested that I looked at textiles in medicine, space exploration and personal protection garments and this has been consequentially done.

Finally my tutor has been fully aware of the fact I can be too literal in my interpretations and advised me accordingly with regards to the work approaching me in assignment 5.  My tutor also advised me to look at some blogs and websites with regards to that assignment and the research point.

Overall I am really happy with the way this assignment has gone and will approach assignment 5 with some trepidation whilst taking into account the points mentioned and suggested.

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Artist research: Caryl Fallert Bryer-Gentry

Caryl Fallert Bryer-Gentry. On the Wings of a Dream. 2008. 63″ x 64″

This is a blog that I have longed to write as I have been an admirer of the work of Ms Bryer-Gentry for several years now having first come across this quilt in a quilting magazine – the immediate appeal was her incredible use of colour and exquisite quilting seen her to its greatest effect in its depiction of the stork or crane.

Last week I telephoned Ms Bryer-Gentry to ask her kind permission to use images of her work in this blog and probably came across slightly daft as I admitted to feeling somewhat star struck – she is one of my quilting heroes and she very kindly gave me the requested permission.  Ms Bryer-Gentry also gave me an insight into her working practices and her use of sketchbooks as part of her design process but also that she takes her inspiration from both her local environment and the places she travels.

Ms Bryer-Gentry’s work focuses very much on the qualities of line, colour and texture to create the illusions of movement and depth and also luminosity according to her artist statement on her website and it is these qualities that signify her now instantly recognisable quilts. It seems that for over 20 years Ms Bryer-Gentry used only white fabric for her work which she then dyed, printed and painted to get her required colour palette – this is again something I find myself being drawn to increasingly in my own work although I have yet to really investigate dyeing in a fuller capacity.

What really strikes as interesting is the fact that the majority of the quilts made are not pictorial but instead are inspired by Ms Bryer-Gentry’s imagination or what she sees in both her everyday life and on her extensive travels – the quilts are impressions rather than realistic images which inspire the viewer to use their imagination and experience the positive energy that the artist wants to come through her work.  I like the fact that these artistic quilts are emotional representations of positive energy and they are full of life and colour whilst also using the occasional recognisable object to evoke a flight of fantasy – the quilts become an escape from every day life whilst also being rooted within it.

Caryl Fallert Bryer-Gentry. Corona #2: Solar Eclipse. 1989. 76″ x 94″. Hand dyed and painted, machine pieced and quilted.

Ms Bryer-Gentry traveled the world for many years as a teacher and lived for a time in Paducah, Kentucky which is universally known as Quilt City and is in fact the only 3-time winner of the American Quilters Society Best of Show, Purchase Award – the quilt to the left Corona #2 Solar Eclipse is the 1989 winner and was also voted one of the top 100 Quilts of the 20th Century!

I find the composition of this quilt is outstanding in that which ever side of the quilt you start from it draws you in in terms of diagonal lines and colour and you are focused on the eclipse itself – there is almost no escape!  I like the narrow inner border which both frames the central image but also again draws your either further in and focuses your attention on the eclipse – I find the outer border  creates an additional sense of depth through its majority use of diagonal lines – there are few curves to detract the eye and yet it does not totally contain the curves within.  The colours it goes without saying are exquisite as they go from cool and calm colours to the firey warm colours emanating from the sun.

Caryl Fallert Bryer-Gentry. High Tech Tucks #32. 1991. 67″ x 46″. Hand dyed and painted, machine pieced and quilted

In total contrast to this quilt I discovered the seemingly straight lines of the quilted named High Tech Tucks – these lines create an illusion of curves and movement and have been created by the extensive use of three dimensional tucks combined with hand-dyed fabrics.  The fabrics it seems were dyed in the 3 main primary colours and also the 3 secondary colour – each colour was also dyed in tints and shades that ranged from white to black …. I cannot begin to imagine the skill that this took.  When completed the left hand side of the tucks uses the primary colours in those tints and shades whilst the righthand side shows off the full range of the rainbow spectrum which consists of 44 hues – this is one quilt I would seriously love to see in person as the internet I am certain does not do it full justice.

What is interesting with this quilt is to see the process from the sketching through to the quilt being completed before border was added and the photographs of the final finished quilt and these design concept details are added for all of the quilts and will be studied further as this gives me insight into the artist’s working practices and methodology – I feel there are many lessons which I can learn and in particular

Caryl Fallert Bryer-Gentry. Fibonacci #3. Rainbow Garden. 2001. 48″ x 36″.

I cannot finish this piece without including one of Ms Bryer-Gentry’s Fibonacci quilts.  I particularly like this version of the Fibonacci series due to the use of circles that curve and lead the eye down or up the centre of the quilt and reading the information on the design process it transpires the circles are there to represent the spirit that occurs in a garden and also to centre the mind.  The Fibonacci sequence is represented in the long horizontal lines and was designed with the aid of Corel Draw which is a computer design software.  Using this software Ms Bryer-Gentry was also able to play with a series of colour palettes and also photographs of the fabrics she was considering using and consequentially able to choose the one she liked the best.  The quilt itself is in a private collection and was done as a commission.

I find myself entranced by the use of colour and also intrigued by the mathematical sequence which although I understand it I also still admit to finding confusing – I would love to somehow use the Fibonacci sequence in my own work but more study is needed before I do so.

To conclude it is obvious that I am a keen fan of this artist on a personal level but also find myself now drawn to her work on a professional level through her use of colour and textures in particular as I start to understand how much these two elements are beginning to form part of my developing personal voice.  I have noted that I want to do further study into the different design methods for the quilts as I feel I can take forward some lessons and tips – Ms Bryer-Gentry is a renowned teacher in her field and even through her website it is clear she continues to do so.


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Artist research – Colours in the Breizh

I came across the work of Valerie Gardiner through one of the many Facebook groups I spend too much time lurking looking at a wide variety of textile and artistic work and trying to pluck up occasional courage in which to post!

The post that brought Ms Gardiner to my attention was this stitched work in progress of fungi – the very subject of my current theme.  What really caught my eye was the colours used and the combination of long and short stitches to create the varying lines on the growing fungus.

Rather helpfully Ms Gardiner had also posted a copy of her initial pencil drawn sketch – with the greatest respect I like the fact that this is not a botanical painting but rather one that is a study and aims to get down the required details, colours and textures that have clearly appealed.  This is clearly a direct working method of Ms Gardiner and one that is simple and straightforward in that it allows for the transfer of her drawing to the fabric with relative simplicity.

The lesson I can take from this is that I have been trying to loosen up in my sketchbook work in recent months and develop a looser style which is expressive and conveys the colours, lines, textures, form and tones that I require along with any specific written notes and this is exactly what Ms Gardiner has done …. I am still fighting against working with very detailed sketches and maybe this is because I am interested in botanical art (who wouldn’t love to have the skill of a botanical artist?!).

Ms Gardiner’s background is as a watercolour painter and she clearly has a real eye for colour with skills built up over many years but after a move to Britany and retiring she felt able to try other subjects and media hence her primary source of sketching being now with coloured pencils.

A further development of the stitched picture above was the addition of grass and blanket stitch used to convey the log on which the fungi was growing.  I love the relative basic stitches used – a combination of the aforesaid blanket stitch and long and short stitch and also straight stitches as there is no need for anything overlay complicated to convey the scene in all its beautiful colours.  The composition draws you in through the lines of the log and the different tones used for the fungi which contrast but harmonise with the different greens of the grass – the variations in tones and shades create depth and form throughout.   Maybe this lack of complication in terms of a limited stitch ‘palette’  is again something I can use within my own work … I do have a self-confessed habit of trying to be too complicated and am learning not to over egg the pudding!

One further piece of work of Ms Gardiner’s that really appealed to me is this second completed piece with the bright turquoise and blue hues which complement variations in the browns used for the logs – browns are part of the orange family on the colour wheel and complementary to blue and this creates a harmonious scene which is further enhance by the slightly citrus greens of the grass.  I particularly love the shapes of the fungi which have developed as they grow out from their host.

I have been given direct permission from Ms Gardiner to share her images and this is very much appreciated.  I feel I can take considerable inspiration from Ms Gardiner’s work and will be looking not just at my colour palette but looking now to work out a combination of stitch ‘palettes’ that enable me create textural marks along with the impression of line and form.


Gardiner, V.  (date unknown).  Colours in the Breizh [online].  [Date accessed:  July and August 2017].  Available from:

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Final reflection

I have come to realise these final reflections always feel slightly strange – you are finishing the course and preparing for assessment whilst also preparing to move on to the next course with the challenges that lie ahead but in doing so time is needed to reflect on the work that you have done and the course as whole.

The final part of the course has been one that is self-motivated and with the freedom to decide on how you approach the work and what theme you work on – the first real self-lead project and that alone has brought challenges.  I found myself working with the methodology learnt in Part 4 and trying new ways of working which in turn lead me to realise that I was neglecting some vital sketching and design aspects which now needs to be addressed – preferably before assessment!  However these new working methods have enabled me to explore and investigate fully my theme and really get into my psyche the benefit of researching contemporary textile works and artists and also the cyclical nature of the methodology to the extent both feel a completely natural part of my own working practices.

The course as a whole has been enlightening in terms of this is the course I feel I have finally got to grips with the study methods and the reasons why certain things are studied – the contemporary artists are a prime example as I did not previously understand the importance of this research.  I have also found myself exploring naturally differing textile processes and the books in my own collection are getting read in more depth as I seek to understand and gain knowledge of my various techniques and working methodologies of differing artists and designers.

If I look to the actual course aims and learning outcomes I will find it easier to answer whether I have met them through looking at the assessment criteria:

Demonstration of technical and visual skills: I find myself looking at the course aims in order to directly answer this criteria but feel I have demonstrated a good range of techniques and also in terms of mark making to generate the required composition, line, texture and tone – I have found myself being drawn to emphasing texture and tone in particular and have worked hard to improve my weaker areas of composition and line.  I am however aware that I need to work further on my final project on the sketching aspect to demonstrate my understanding of compositional elements and line and to be able to translate this more effectively into my textile techniques.

Quality of outcome:  I have consistently worked on my presentation of my work in a coherent and organised academic manner and been able to demonstrate my conceptualisation of thoughts and communicate my ideas through my written work and also my sketches.  I have demonstrated how I apply the knowledge to my work throughout the course and in particular in Parts 4 and 5.

Demonstration of creativity: Creativity I have felt is really beginning to come through in my work now and I am more willing and also excited to push beyond the boundaries and develop my work due to the research into contemporary artists.  I am now gaining confidence in demonstrating and exploring my imagination which is resulting in considerably more experimentation and invention using a range of textile and media techniques and my personal voice is finally beginning to develop – I am aware that I am focusing ever more deeply on my use of colour and texture which is resulting in bold works that want to shout out to the world although my final project was relatively small in scale.

Context: This is where I feel I have shown the most development through being able to demonstrate my research and critical thinking skills – the critical reflection part of the methodology has enabled me to analyse and reflect in a coherent manner that also enables me to communicate my ideas.  My background as a secretary and also as a child who loved to write is enabling me to really start to use my love of words as part of my studies – words can be used to work through ideas and concepts before I put pencil and paint to paper or pick up a sewing needle or turn on my sewing machine.    I feel my research skills are improving at a rapid pace and this in turn is forcing me to analyse and dissect concisely what I require to know and absorb from each piece of research or image.

Overall I feel this course has been the one in which I have begun to find my place and find my personal developing and have felt I have been on a huge learning curve that has been both frustrating at times but also exhilarating in terms of moving forward.  I am still wanting to do further work on my final project and correct or work on aspects I am not happy with prior to assessment but as stated in my final critical review the theme I started in this course I am certain is one that will form part of my personal voice and will be part of my working practices.


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