Reflection.

Throughout the four technical blocks I have learned and developed lots of new techniques, I would say I came into each of the blocks expecting something different and was surprised at how quickly I got into them. I had never printed before and I think because it was my first block I was a little intimidated by it, looking back I wish I had have gone into it with confidence and a little less hesitance. My second block was weave which I enjoyed. I think I did really well in this block because of my love for putting things together and feeling the yarns. My third block was knit which I enjoyed too, minus my love hate relationship with the knitting machine! I had only ever hand knitted before and I was really pleased with my samples which were delicate and simple and retranslated well from my drawings. The last technical block, stitch, was different to what I anticipated, I didn't realise how much you could do,  my final samples for this I felt went really well, I took an idea and pushed it using different methods to make each one different but so that they still related. When I first started this blog I was a little shy of it, I had never blogged before, I'd always like to watch from afar (obsessing over any fashion related blog I could find). I am excited to carry on with my blog but I think there will be a few changes made. I think that the strengths of my blog is that there is something to read and it has depth, I find it annoying myself when other bloggers have great images but no writing about what they are, who they're by, what they're about. The weaknesses that my blog holds are that it is too simple, I need to make it more personal to me and my style. I also think i didn't put enough pictures up and that there were at time possibly too much writing. I think that the image:writing ratio was too low. My research for my blog was as good as i could have given it, I takes about what I knew and also about what I didn't previously know, I spent time at the exhibitions writing down what I thought would be most interesting.

Comparing Greyson Perry - The Tomb Of The Unknown Craftsman to The Power of Making.

Greyson Perrys work has a very strong connection between the past, memory and nostalgia. He shows a strong connection to the craftsmanship of historical artefacts and blends those ideas to create his works of fine art, which often have obvious cultural and modern aspects while maintaining the historical 'feel' of his work.

The objects shown at the Power of Making had a similarly unique aspect of time and process. The works shown were all objects created for a specific purpose, the ingenuity and outlandish ideas boldly showed its mark on the quality and use of technique in the work. This method is a different term of craftsmanship to what Greyson Perrys work is about.

Even though art and craft are generally made for the creators pleasure, in my opinion the work of a craftsman differers from a work of fine artist as the craft usually accounts to having a specific purpose or use in its individuality and technique, where as a work of fine art usually has no purpose other than to be displayed for an audience and to be looked at and admired. Where as the work of the designers and makers in the Power Of Making held a purpose or was created in the sense of a purpose.

That, i feel is the main differing factor between Greyson Perry and the craftspeople of The Power of Making. Greyson Perry gathers aspects of craftsmanship and historical technique to create his works of art, whereas the works from The Power Of Making where quite obviously one off uniquely crafted objects which require amazing amounts of specialised technique and ingenuity.

Exoticism in Design - Dr. Clare Rose.

‘Anyone employing Orientalism, which is the habit for dealing with questions, objects, qualities and regions deemed Oriental, will ...fix what he is talking or thinking about with a word or phrase, which then is considered either to have acquired, or more simply to be, reality...The tense they employ is the timeless eternal' - Edward Said, Orientalism,  quoted in Bhabha in Evans and Hall, p372

Orientalism prior to the 1900's was seen with different attitudes to the different cultures, the attitudes of the Europeans was based on myth. Europe saw the Chinese and Indian's for their arts and valuable products and the Japanese and south east asians were seen in light for their exotic ways of life. The Europeans wanted this richness for themselves. In 1761 the Poganda at Kew Gardens was put up by King George the third, around this time 'Oriental style' became fashionable to the rich and elite. At our visit to the V&A after we saw a Chinese style chippendale which dated back towards the 1770's.

In 1815 the Royal Pavilion in Brighton was decorated in a Chinoiserie style, which pushed the trend further, after succeeding the Chinese in the Opium War in 1842 the British now held new trading laws which changed the next 20 years. America forced the Japanese to open their country in 1854 and in 1862 the Japanese show at the International Exhibition in London. From the exhibition and people seeing how amazing the Japanese style of art was in comparison to Europe's artists and designers started to try to copy their style, Manet, for example paints the portrait of Zola in the style of the Japanese in 1867.

‘In a way, all my work is founded  on Japanese art…Japanese art,  decadent in its own country,  takes root again among the  French Impressionist artists’ –

 Vincent van Gogh, letter, 1887

From the 1800's the europeans were utterly fascinated by the eastern cultures, they saw it as exotic and they were even more interested with the women whom were covered from head to toe and hidden. This sparked an underlying buzz as such which gave artists the chance to give admirers of their work a 'look' at what went on. It was mostly because of their differences with the western woman, she wore a corset and a bare face, and the oriental woman, she wore a veil which hid her face and loose clothing.

J A D Ingres, The Turkish Bath 1862 

We entered the 1900's and the strive for all thing oriental still went on, Paul Poiret opened his independent fashion hour in 1904 and in 1909 he showed an oriental theme throughout the show. The Russian Ballet performed shows such as `Cleopatra', `Prince Igor',  `Scheherezade' and `Firebird' which were all influenced heavily by oriental customs. Even now to this day we are still just as intrigued by orientalism, in fashion, art etc but it is shown in a less obvious manor.

The Power Of Making - V&A

The Power Of Making

As I walked in I saw a giant gorilla made out of coat hangers, which was made by the scottish artist David Mach. It had such intricate detail up close it was beautifully constructed. The thing that struck me most about was the craftsmanship and the unusual, unique pieces that were shown. Although the exhibition was smaller than I thought there would have been there was lots packed into it. The projections of the makers actually making their pieces was great to see, as it is quite a rare thing to see at an exhibition, it was unreal how much more interesting this made the exhibition for me personally. The exhibition ranged from couture dresses made from leather and pins to tables and chairs to high fashion prostate limbs. 

Marzipan and sugar baby.

The thing that interested me enormously were the cakes that were made to look like babies, they were immaculate. This was made by  Michelle Wibowo out of completely edible materials.

The Coding Dress

The QR code beaded clothing was amazing it was discovered at this years RCA exhibition Thorunn Arnadottir used Swarovski crystals which can be read by smartphones.

 The Spray-On Dress and The Moth Hole Mender.

The spray on dress was created by Manel Torres who created 'Fabrican' whilst studying at RCA, the title is as it says, it is fabric in a can. The moth hole mender 'Woolfiller' was developed by Heleen Klopper, to revive old clothes.

Greyson Perry - The Tomb Of The Unknown Craftsman - The British Museum.

The Tomb Of The Unknown Craftsman.

So I've now visited the British Museum THREE times in a space of 5 days, because I have been trying to get into the Greyson Perry exhibition. I suppose it was completely pompous of me to not be excited or for me to be annoyed and shocked when the tickets were sold out twice on the run but finally (after actually booking the tickets 2 days in advance and turning up and hour and a half early on a rainy miserable afternoon) I got in and the wait was most definitely worth it. There was a sense of humour which smothered the whole exhibition it was refreshing, I think anyone who took it too seriously should have been asked to leave personally. His references to todays popular culture which glided through the exhibition were true and funny and relevant. What annoys me though as with most good exhibitions is that it is no photographs allowed, even though I know its coming it will continue to disappoint me for the rest of my life. I loved the whole exhibition but I'm going to choose a couple of my favourites to talk about (and the ones I can find pictures of on the internet).

Map of Truths and Beliefs.

The tapestry shows the possibility of pilgrimage. The landscape in the back is a graveyard, it has names of places all over as you can see in the second picture, he has also written things like, Stone Henge, Glastonbury and Ground Zero. The woman in black represents the contemporary world, the bear is raw emotion, the boy is innocent logic and the woman in the folk outfit represents tradition.

Rough Guide Theory Task.

China Town and Soho

China Town wasn't originally located near Soho as it is today. It was in London's East End, where Chinese employees of the East India Company first came to England in the 18th Century, although most of the workers homes were based in China by 1914 there were a few hundred of the Chinese workers calling London their home. At the end of the war when the soldiers returned there was a great demand for Chinese food and a few restaurants opened on Gerrard Street on the West End. The new found popularity of Chinese cuisine created China Town as we know it today but it was the late 1960's when China Town was established as the centre for London's Chinese community which now numbers at tens of thousands. The main attraction to China Town is is's high numbers of authentic Chinese restaurants, and Chinese food shops. Lots of Chinese live here or around the area to be close to their business' and when I went around the shops and restaurants I did not count one single person of non-chinese heritage working in the shops.

Since the start of the 20th century Soho has long been known as the entertainment district, it is known for it's nightlife, film and sex shop industry, by the end of the 1980's Soho had become a fashionable area sporting cool restaurants and bars. I decided to ask people around Soho what they thought the main attraction was, I thought this would be an easy task but then I remembered I was in London, not friendly old Liverpool and finding 20 people who didn't think I was a raving lunatic was hard to come by but most of the people that I managed to stop for long enough, said they had come clothes shopping or were on their lunch break, I felt this task was pointless in the end because of the amount of people who thought I was trying to make them donate some sort of money or whatever, so, alas, I gave up. My main attraction to the area is the amount of shops selling vinyl and although I do love the fabric shops but everything is completely out of my price range.

Object Analysis.

Lucky Cat

The lucky cat is a Feng Shui item in Japan and China, they are believed to bring wealth, good luck and good fortune to the owner. Although it looks like the cat is waving (the paws move up and down) it is actually beckoning. The Lucky Cats are generally made out of plastic.

Cute, terrifying, wise, friendly, hopeful, 

I think if this object were to be found in another context such as a museum it would be seen as interesting because we would wonder the story behind it, why is it there? Is it for cultural reference? It would make us wonder the depth of the story behind it and how it came about rather than when we see these so commonly as decoration in chinese restaurants, for sale in chinese supermarkets and chinese shops and see them as decoration in shops when they are not for sale. I think this is how context can be interesting because I think we see these good luck charms so much we look right through them, most people wouldn't know they were a charm for good welfare and fortune. I asked a number of people around china town about them, I asked a few specific people, I asked asian people first and they could all tell me exactly what these were about then I asked people who I presumed were tourists and they didn't know, I doubt it was because they didn't care or that it was ignorance but that they simply saw them so much they didn't actually 'see' them.

Agent Provocateur - Soho's window display 

Agent Provocateur is a high end lingerie shop, opened in 1994 by Joseph Corre and Serena Rees.  This window display was created to tell a story that would lure the possible consumers into the store. I also think that the window is quite inviting and you wouldn't feel intimidated to step into the store.
Alluring, exciting, sex, luxury, upper-class, nostalgia.
If this display were to be seen in a museum or gallery I believe it would evoke lots of different thoughts and opinions, say if it were done by a well known artist, I believe that some people would strive towards it for the wrong reasons, I think that this is related to consumerism in the thought that the artist is the brand and therefore where some people strive towards a particular brand and would admire anything about it, it is the same with a well respected artist with some people. But this would also cause a major uproar in the art world, I believe that critics would go wild as they did with Tracey Emins 'My Bed'. I believe that some may even misunderstand it, they would question what it is, what the meaning is of it? 

Leon Kossoff - Self Portrait.

Leon Kossof was born in London and studied at Central Saint Martins and The Royal Collage of Art. He was heavily influenced by David Bombergs expressionist style of working. This painting is oil on board and the texture of the paint gives the painting a beautiful ugliness.

Texture, dark, eery, solemn,  inner depth, potency, discreet, pain, secrecy. disconnection, searching, the voyer.

The context of this self portrait as it is, is perfectly understandable but if this were to be taken out of its original context and put into the shop window of Agent Provocateur there would be confusion but at the same time I think people would be inclined to take a look inside to find out what it was about, I think that the curiosity that it would evoke would bring more people into the shop and therefore sell more of what was in there. I believe that curiosity is sometimes one if the best ways to make a shop money. Humans are although we sometimes pretend not to be curious creatures, it is in our nature to wonder. 

V&A - The Trade Between East And West 1600-1900

Without Indian textiles the british textile industry would not exist as we know it. The Europeans wanted Indian textiles to trade for spices and coffee in South East Asia, to trade in Africa for Gold and Ivory and wanted cashmere and cotton for Europe where these didn't grow. Indian textiles have been traded since 400AD they were compared to the wisdom of God and the most precious jewels in the bible. Indian textiles where known as amazing even by the Romans. This is all because of their very fine cotton muslin and their washable printed cotton which Europe could not compete with as they didn't have the knowledge until 1820. The indians created and trend forecasted fabrics for specific places across the world, even though they had never been to these places, they could forecast what would be out of fashion in France and what would be in fashion in England - this is trend forecasting like no other!! No research trips nothing!

Timeline from 1500 to 1770

1500 - Sea routes from Europe to China via India to The Americas were officially established.

1526 - Moghul empire was established in India

1557 - The first European trading post in China

1600 - Founded the English and Dutch East India companies.

1700 - Ban on sale of Indian chintz in England

1720 - Ban on use of Indian chintz in England

1720 - 1774 - Ban on printing on cotton in England

1742 - China blue printing method was developed in England

1757 English East India company became the main colonial power in India.

From 1770 to 1800 there was a massive overtake in Britain, the british had finally developed a way to print onto cotton and for it to be washable - which was never possible before, but this caused a massive problem for India as from 1800 England took over from India as the major world exporter of printed cotton cloth. in 1857 the British took direct rule over India and in 1947 they took it back with the partition of Pakistan.