i want to be florist

 [[different tonal qualities]]

 Here is an example of my fabulous florist skills [please excuse my slight[[ginourmousobnoxious]]lie]but i crave life, i crave flowers, like 

i always wonder as to if i am bored with flower life yet?

but the reply is always simple

you must purely put the fury back into it

a furious ambition to capture them all, capture every moment, every thought, response, idea.

I like Joan Mitchell, she has a furious lust of nature (can i write that)

too fall asleep, timing may be difficult, something is unbalanced

too fall asleep, timing may be difficult, something is unbalanced, last nights dreams resurrected before ones eyes, fading fast, quick quick, an empty street, an ostrich suitcase (fake of course), a dozen trees{goodnight][or perhaps a thousand],,,, no just one, and many a people, queuing, drifting, no wait, fire, fire

 P.S. I WANT IT ALL

LACEFACE?

MIND GAMES

 the thing about lace is its edges, its attention to detail, the too's and fro's of delicacy and density

 more to follow off course, an on-going stream, swish swish

The most fabulous thing about this certain lace specimen, is the designs and patterns within the flowers, within the shapes. The opaqueness and transparency does not solely lie within the pattern and backing as in many commercial laces but in the petals too.

A LITTLE VEGAN CHRISTMAS CHEER

Okay, here goes blog, lets get involved, lets get entwined with each others lives, lets reach a level of comfort that we are both happy with, a vague sense of friendship is a must. So to begin this process, here are some freshly baked vegan mince pies, my first venture into the art of mince pie baking and perhaps my last_____

REVIEWING CRITICALLY?

Oh hey,

to critically review your sketchbook(s),, too reveal any given fears, analyzing how you work, analyzing you progress, your rhythms,, (but what if you have a fear of this blank page).

Anyway back to the point in hand, here are four, precisely four, actually maybe five images from my collection of sketchbooks dedicated wholeheartedly[of course] to this project.

I struggle to work in one only, it makes me uncomfortable.

I therefore have kept three, an A5 visual journal, hard-backed, plain paged, this is my main comfort zone, it is for visual stimulation, ideas, notes, samples etc etc. Book number two is a little pocket sized drawing book, to explore into my theme.

I am uncertain as to how i feel about my sketchbooks, I believe them to be little on the non-full side of life, although I am happy with their progress. The visual aspect of a sketchbook is incredibly important to me, if a page isn't visually stimulating, if the combination of textures doesn't quite sit right in my eyes I find it almost impossible to work in. Within that what I do find of great interest is the process of painting over. I feel comfortable with my sketchbook because if i don't like something to the extent of disgust i enjoy the process of painting over and re working on top, i like the remains, the skeletons of previous work it leaves behind, honest skeletons.. 

Also Also text and notes is key for me. I don't actually know why. I just need it, for unlocking and understanding, i think it would eat me if i didn't scribble notes while working. My mind would be like a stuck record, caught on a phrase, intent on repeat.

In terms of the contextual I am not particularly wonderful at clearly expressing information about relevant artists or trips or visits I have taken. I seem to have great knack for sticking in an image of an artists work that i have been intrigued by but instead of writing next to it about this specific work and what interest it has to me. I'll have gotten lost on an entirely different chain of thought and be rabbiting on about that. But is this necessarily a bad thing? For on lookers perhaps... but to me, the relevant information will be there somewhere, just not maybe where it "should" be. I like it, it forces me to read through previous notes, jogging my memory of forgotten rabbit trails,,,,

Also more artist research and awareness is needed most definitely, even to the extent that my sketchbook is looking a little naked on the artist front.

 

Content. I am happy with the development of the project, but maybe I'm not. It could have gotten a little lost,, I have been dealing with a wallpaper sample (see below) which leads it self onto botany Where i have focused on parsley and looking at ways of distorting it almost, playing around with the idea of creating a fool (either the viewer or the parsley itself). A fools paradise perhaps_

I think my ideas have developed well through the adaption of the parsley, but could definitely benefit from more of my drawings being worked into stitch and fabric. Also I wonder whether i should of spent more initial time researching into my chosen wallpaper before jumping at the experimenting,,,,,

FRESH START. STRAIGHT UP.

Here lies a wallpaper sample, "Fools Parsley", designed by the man Charles Francis Annesley Voysey. This here sample is the basis for my Sleuths, Spies and Lies project, the spinning point if you will..

Fools Parsley is in fact poisonous.. intriguing.

Dog

My peculiar looking dog and I, unfortunately we are not as good friends as this photograph may suggest, although i have grown a little fond of him and his rather under the weather looking form...

The beginnings of the pattern formation "what my parents have taught me",

(from top) Acrylic paint printed upon a synthetic taffeta.

Experimentation into applying the design onto tulle netting.

A pattern idea from the project of identity,

manipulating and changing patterns from my house, original pattern taken from a wooden flooring.

Examples of pages from my personal reflective diary.

Examples of life drawing work using colour. 

My interpretation of a project entitled "transform a book"

Examples of work from a self portraiture piece,

work on left made completely via touch and finger painting.

A close up of the lips from the above portrait.

I like the interaction and involvement of using my hands directly, I feel I can identify with it more, be it using paints or inks or threads or any other material I deem fit. I am a bit of a finger painter..

I feel that the body of work featured here expresses this desire to work in this manor. I like the relationship between hand, materials and process, be it threading something through netting, coiling pieces of paper or letting a machine run wild upon a piece of fabric. Teamed with this emotional attachment to the material, I also have a keen adoration of design, pattern and repetition. I believe that the above work is starting to show the results of the two beginning to intertwine..

For the piece of work entitled "what my parents have taught me" that was also linked to an identity project, I wanted to experiment with creating a pattern, both for symbolic reasoning as well as surface design. I like how by rotating the repeat the way everything seems to be spinning round in circles, chasing each other, getting caught within itself. This pattern is still in development, I want to experiment with situating something within the circles formed or maybe a hidden anomaly, an out of place symbol.
I am besotted with really delicate laces and cut out materials, either revealing layers beneath or empty spaces. I have been experimenting with attaching layers upon tulle netting to create my own form of lace. I adore Rodartes sheer tops from the Spring 2011 Ready-to-Wear collection where a pattern of appliquéd
 shapes is attached to the netting to form the body of the top. I am really dawn to such materials, the strict forms of the pattern against such delicate light material.
In conclusion I feel as though I am developing, learning and absorbing more and more every day and wish to further this in an environment which would both push me creatively as well as towards industry.

p.s. The background is also taken from a sketch for the pattern design used in my identity project.