Final year project
A life known through what is left behind [Read more]
In tune - the main piece from 'A life known through what is left behind'
This piece is composed of yarn wraps of different levels and differing patterns. The overall impression of the piano is one of weight and seriousness with a dark presence which I wanted to translate into the overall feeling of my piece. Within this however, I wanted to use some of the exceptionally strong images, patterns and structure of its machinery that is initially hidden from the observer. These visual cues are most obviously represented by the tessellated hexagonal blocks of the tuning pins, as well as the interplay between the crossing golden strings that the hexagons enabled me to exploit. My choice of materials and yarn reflects differing gauges of the strings – whether coiled or fine. Finally, the beautiful almost primary contrast of the golden interior with the red, blue and ecru of the felts were significant in my choice of colour. My aim was to turn it inside out and reveal the hidden beauty that belies its apparent sternness.
The orientation and placement of the yarn wraps to create a cohesive piece, needed careful consideration and experimentation, as did the concentration of colours and positioning of the negative spaces between each, but not all, of the yarn wraps.
Triptych
Three tessellating motifs that are intended to be viewed together and could be extended to create a larger piece. However, each pattern could stand alone and could be a repeating pattern. The image features strong diagonals and straight lines which emulate strings and staves. The colour palette is drawn from the piano interior and exterior.
Hidden beauty - folded fabrics
A collection of hand woven fabrics and jacquard, inspired by natural rock formations and what can be found hidden within the rock. The palette contains accents of bright turquoise and saffron yellow which reflect mineral veins and opalescence. The treatment of the fabric following construction to create small fringing required expertise and practice to perfect the technique. The jacquard repeat patterns required great attention to detail and precision to achieve the desired result.
Hidden beauty - blue chair in black room
The designs have been applied to an interior space. The black walls provide an effective background which emulates the natural bed rock that hide minerals and gems within. This serves to emphasise the bright flashes of colour added by the fabrics.
Levels - a different perspective
The observer is invited to view the image from different perspectives; to lead their eye along different pathways. These changes in angle provide an insight into the differing heights and patterns created by the sides of the hexagonal prisms.
Convex concave
I wanted to present a visual expression of the differing experience of the listener to performance. Tonal and emotional responses vary from the position from which the piece is observed. It’s three dimensional form allows altered perception depending upon the viewpoint from which it is observed. The piece can be presented as either a concave bowl or as a convex dome, either individually or in concert as a repeating pattern on a flat background.
I enjoyed the precision required to construct the net, planning the orientation of the yarn wraps and the selection of the view points from which it could be observed.
Patterns within
This piece strikes only one balance between the diversity of the individual elements of the yarn wraps and their strong pattern potential to create texture in both two and three dimensions. It is extremely flexible, and this offer holds clear development potential as the yarn wraps can be placed in any position, orientation or order to produce strong lines that draw the eye or more contained ambient patterns. The entire piece can be tessellated so that the desired effect can be extended over as small or as large an area as needed.
Refrain
An expanded view of one of the motifs seen in Triptych to create a repeating pattern. A strong image is created through the central element of each hexagon as they meet at each edge. New triangular and diamond shapes are created though the combination of yarn wraps.
Theodora Hall
I have specialised in woven design, using inspiration from nature and found items to produce innovative approaches to fabric design.
My pieces have been designed and produced to inform fabrics and other materials to decorate a variety of learning spaces. My inspiration was drawn from the visual elements of my great grandmother’s grand piano.
As learning spaces can be very diverse, I wanted to create something that was flexible and could be adapted to a variety of settings. I also wanted to produce something that was innovative and obviously different from examples in learning spaces that I had seen and researched. The strongly repetitive interior of the piano suggested a modular approach that could be enhanced or expanded at will and my attention to detail meant that I was able to identify and draw on a number of visual cues that could be interpreted into an exciting mix of form, colour, shape, texture and pattern but without being too recurrent or derivative. The possibilities for the design of the modules and the presentation tableau seemed limitless. I found that these combinations allowed me to produce very diverse, fine and detailed work that I believe is a strength that has helped to make the pieces successful.
There is no doubt that my work is very different from that which I had planned before the pandemic. I have had to rely on my flexibility and resourcefulness and innovation to adapt my pieces to a yarn wrap format. That said, I have managed to produce some very fine and detailed work which is relevant and easily delivered as a conventional weave. I believe that my focus upon particular cues and the detail and quality of my pieces strongly supports my interest in fine fabrics, historical influences and textile restoration.
Final year project
A life known through what is left behind
Awards
'20 Diploma of Professional Studies
Experience
I have undertaken work experience in three separate businesses, in different areas of the textile industry.
Helen Foot is a sole weaver who creates hand woven accessories. During my time with her I learnt about financing, marketing, working with customers, creating woven textiles, sales and commissions, mood boards, yarn wraps, weave structures, prototypes and the finishing process.
The second company I worked for was Gainsborough Silk Weaving, a company that produces high end, woven interior fabrics. The main focus of my work there included organisation of resources, stock inventory, use of excel, time management and problem solving, colour palettes, maintaining standards and quality control and presentation of products.
My final placement was the wool spinning company John Arbon Textiles. Here I was fully involved in the yarn production process from sourcing wool to the final yarn products. I learnt how to undertake: carding; combing; spinning; folding; coning; hank winding and labelling. This work involved working with heavy machinery and great attention to safe working practices.
I worked extremely hard for each company and believe that I demonstrated a high level of commitment. The roles required me to communicate effectively with colleagues and customers alike. I was keen to learn about the way that each company worked and to acquire new skills at each and I have achieved this aim. My involvement in company shows, exhibitions and sales show that I am flexible in the way that I work and my ability to meet tight deadlines. I have excellent references from each company.
Placements
July 2018 - July 2018
Studio Assisstant, Helen Foot Design
August 2018 - November 2018
Design Studio Assisstant, Gainsborough Silk Weaving
January 2019 - August 2019
Mill Assisstant, John Arbon Textiles