The prevailing concept from my drawings seemed to be the idea of layering and depth. It became very much about a concave, pocketed form within a 2d surface. With this in mind, developing on from the jersey stretch, I decided to explore the shirring elastic for a more exaggerated 3-dimensional form. At this later stage in the week, i only had access to either the black or white. I favoured the white as it gave a brightness to the coloured thread within the stitches. Playing with tension on the machine I manipulated the stitches in order to have looser areas that added texture as well as colour by disguising the shirring elastic. In the same way as the tooth picks I created a disrupted line, which was unusual. As with the quilting, within the shapes I was interested in trapping different materials to reveal them by cutting through and away areas.
Moving towards my final samples I had to step back and really reflect on what I should peruse. Having experimented so exhaustively I had a an abundance of ideas, which in a way also complicated my development. At first I found it difficult to gauge what was most successful as the samples originated from a common concept but certain outcomes were also very different. I then decided to peruse the idea of the inverted shapes with the elastic and also by sculpting with the toothpicks, trapped in a more translucent material. Aimee admired the sculptural forms I was beginning to create and suggested that I explore the darker areas within my drawing further. Instead of executing this literally through colour or tone, I was shown how to use thicker yarns in a tension free bobbin to convey this depth through materials.
As I developed these samples I felt something was missing or didn’t quite sit right. Within Isabel’s final tutorial she expressed that she was more interested by some of my other samples, including the work with wooden sticks, rather than the elasticated concave shapes. She liked how in one of the concave samples I was beginning to create shape and form by laying the sticks in different directions. She also suggested exploring creating form by snapping the wood, in this way there is an element of control with also unexpected outcomes due to how the frayed edged pierces the soft wadding. On reflection I could see how the elastic shapes had become over complicated and confused as they grew in scale. However what I had discovered with these pieces was the effect of the tension when working back to front. When I transferred this to the wooden sticks I was achieved some fascinating variations of colour mixing and the proportion of the bobbin and top thread colour. I feel inspired to push the wood stitch trappings further as they appeared alluring in their simplicity and could be even bolder scaled up. When I began this pathway, this was not a technique I had ever considered and therefore I definitely want to see where I can take it. The original form was almost becoming pot shaped and to move away from that I experimented with one of my smaller samples to create a long vertical form, snapping the sticks to create a jagged rhythmic movement along the piece. This development was crucial within my stitch exploration and I feel the pieces I develop for assessment from this will be much more successful and engaging to create.