Reading and writing not going well. Difficult to access range of documents on Coventry library system, from home. However, on Google have found one useful piece of writing by Scrivener, doubting the possibility of knowledge artefacts, because of the debate about 'what is knowledge?'. But while I agree with his conclusion (can't remember the details) from a presentation given at a symposium at Herts, I do think a Situated Knowledge artefact is possible. In fact, I think my works are situated knowledge artefacts. I think much political art could be deemed to be situated knowledge artefacts.
Need to create Progress and Plan document for Jill and Imogen before tutorial on Wednesday. I have progressed slowly on reading and writing - need to go to Coventry on Weds, might stay with Darren/hotel overnight, read in library Thursday, go to FAH Christmas do in the evening, then come home. Need more key phrases to look up. This is what I find difficult - to find the right phrases to search. And I can't seem to get the Coventry library system to work in the same way from home. I come up with nothing when I search phrases at home, but quite a lot when at uni. Frustrating. I know I have to do the reading. It always takes me forward.
Need to revise writing on Homemaker Woman and Migrant Worker woman, before sending to Jill/Imogen. Not sure what to put in it. Migrant Worker Woman is definitely my favourite of the series. Jill says there is more in it than I have written about, but I'm not sure what. I think there is an honesty in depicting mundane objects that toilet cleaners use. I like the high colours, and am really annoyed at myself for putting a blue grey in the toilet brushes. Should have kept them black. Jill said there was more in the glove than I had written. Not sure what. I can talk a lot about how I used the variation in the colour of the hand-dyed thread - to greater and lesser effect. Not sure about the significance of the glove itself. Really, to me, it is an artefact that they use. Symbolises manual work? Symbolises the hand?
I could also write about the threads I choose to use. I very much like the Amy Mitten threads. Unfortunately they are from Canada. As I'm ordering them online, I can't see the actual colours until they arrive. I like how they handle - they are less tightly spun (28tpi) than some others (eg Mulberry Cottage that I used on Homemaker Woman). Amy Mitten threads are pliable, easy to sew with, sit well once stitched, and give the right coverage for the linen count that I am using. But they are a heritage range of colours, and have very few high colours. The yellows in particular are only available in the richer gold tones, which meant I had to work the glove and warning triangle in the Ghanaian gold rather than hi-vi yellow. Taking this forward to my Manual Worker woman sampler, I don't think I'm going to be able to get a Ford blue from Amy Mitten, so I need to source other threads - preferably with the same pliability. Although I have not done the artwork, I foresee the main colours being black and blue. It's a gritty factory environment, so dirty oil black seems appropriate and Ford blue is quite a nice colour! And this colour way would sit well with the series of samplers. Thinking more about this colour way, brings me to my place on the waiting list for Richard McVetis class at West Dean. I had an idea for using the Ford Cortina Haynes Guides, with their oily thumbprints for inspiration, when learning his style of stitching. I'm third on the waiting list and West Dean say they get cancellations at short notice. So I made it clear that if they get a cancellation on the morning of the class, they can ring me and I'll be there for the first evening session. It seems a bit naughty to wish flu on someone ... but that's exactly what I'm doing!
So that's what is not going well. But have made progress in other areas. Went to Gaydon Motor Museum earlier than planned - had permission to look at Ford Anglia in detail from curator, but only when museum was quiet - their Christmas programme started on 6 December so I had to get my act together. I only realised this on Monday 3 Dec, so Jim and I drove up on Tuesday 4th so I could do my research in peace. Museum very helpful. OK with me having the Ford Anglia car door open and measuring all different bits.
Margaret has offered the Monday class a free flow session at the Granary on Monday 17 Dec. I will take all my car seat measurements up to class to create pattern pieces. Plan is to use these shapes for artwork. Need to have a plan for what to do with them. Thinking about words and quotes from Scamp Inquiry. Also quotes from Ford women. Layering. Cover-up. Leather seats/leatherette feel and texture. Quilting lines. Angry women. Can't find women machinists to talk to - they are fed up of people taking their time for information given many times.
Enjoying artwork with repetition. Would like to do more print. City Lit, has a Saturday class starting in Jan for a few weeks. This would fit - does not mess up bike riding on Sundays; is a whole day class so makes it worth travelling all the way to London. Slamsey's farm (in Braintree, yippee!) has print classes but not starting until late Feb. Rather too late. Both venues would enable larger scale works.
Need to talk to Vanda. Would she do an art tutorial for me? - so I get ideas to work up at The Granary on 17th. I work better in a group.
Went to Eastside Community Heritage 20th anniversary event at Stratford Library. Judith Garfield - director. Have built good relationship with her. She's a good woman working with many, many different groups. Has had 30 internships over the last few years - of whom 90% went on to real jobs in the heritage sector. I've seen her managing an intern while I've been transcribing at ECH. She's a busy woman, and does not have much time available for them - but uses it to best effect. Takes no crap. She's supportive, encouraging, directive, focussed, no-nonsense. I wish we'd had more people like this on the Underground! She floated the idea that if I can't get space in Herbert Gallery, she will find a way to organise an exhibition for me somewhere in the East End. And I think she'd do it. She was encouraging of my idea to talk to Rachel Crossley, the newly appointed Director of the East End Women's Museum, about trying to get my work shown when the new premises opens 2019/2020. Also thought my idea about a Valuing Women theme would work well with workshops for interested parties.
Jill wanted me to write about my process as this is not fully explored in academe. I wonder if my swim thinking is relevant? I might write this up, and see whether it is what they want. It is definitely part of my process. I came up with the idea about using the sampler border as a production line of machinists car seat progress, and Aunt Joan's Sissinghurst borders while swimming, and the idea about Situated Knowledge artefact while riding my bike. Keri Smith's advice 'move your body' works for me. Yet, I feel a bit embarrassed about thinking that this is sufficiently worthy of academic interest to actually write it as part of my artistic process. But it definitely is part of my technique.
Have made good progress on making archive quality storage case for samplers. Two layers nearly complete. Should be 5 layers deep when finished. But at present I can put 2 samplers in each layer, separated by acid free tissue, to store the 4 already made. Need to get more acid free tissue.
Also had email from Lewis Jones, with call for papers that he thought was on topic for me.
'Private Textiles and Dress: Domestic and Intimate Textiles and Dress in Museums and Historic Houses'
Thursday 13 June 2019
University of Wolverhampton, UK
https://retailhistory.wordpress.com/2018/11/28/private/
CHORD invites submissions for a workshop that explores private, domestic, intimate and / or secret textiles and dress in museum, historic house, archive and other collections.
Papers focusing on any historical period or geographical area are welcome. We define 'private' broadly, and also welcome papers that challenge simple categorisation, including domestic objects or collections that might be intended for public view, or 'intimate' items that might also have a political meaning. Both textiles and clothing are of interest, as are all aspects of their acquisition, care, display, interpretation or conservation.
This might fit quite well with my work. My sampler are a domestic textile, bridging the private/public environment, as the format was designed for private learning/recording of stitches in a domestic sphere, although I'm using them to give narrative in a public, exhibition type space. I should definitely apply for it, even if I only get to the application stage. Practice at these submissions is always worth the time spent.
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