Emily Kane Textiles In Practice

Third year Textiles in Practice student at MSoA.

[emilykanetip]

[emilykanetip]

[emilykanetip]

Protest Masks, Emily Kane 2019.

[emilykanetip]

A mock up of the collaborative exhibition poster with India Barr Textiles Artist. 

[emilykanetip]

A little collaboration I carried out with a fellow textiles student, Warren Reilly. 

[emilykanetip]

Project 1, Abandonment. 

[emilykanetip]

3 Digital prints. Image contains mask and painting by myself. 

[emilykanetip]

Various composition tests.

[emilykanetip]

Project 2 Outline

Title: What if you held a protest and the whole art school came? 

Statement: Following on from my first project and I would like to examine how we as young politicised artists use/takeover spaces. I will look at the housing crisis in Dublin and the reaction of Irish students. 

Body of work: Responding to photographs of the Gardai wearing balaclavas in Dublin, I would like to create a series of “protest masks”. I could possibly follow this up with squat-gear like armour, ideally that could be worn as and a peaceful protest against this harsh regime. My work will be varied in colour as I will be using found materials from the art school bins and skips. Any colour choices that I make will keep in mind the contrast of the black balaclavas in the image that I have started my research with. I will focus on collage and exploring the use of text in my paintings, drawings and textiles. 

Research: Interview with Aoife Clarke, photographer and student in Dublin who has first hand experiences with the housing protests. Looking at spaces close to me that have a revolutionary approach to protest and art in communities. GGP, NIAMOS, Wolimierz etc. 

Context: Installation, interactive with a crowd, exhibition work. I could possibly focus on the wearable textiles and consolidate the context with a photography session and develop digital work. 

[emilykanetip]

Let us in. 

[emilykanetip]

Project 1 Outline

Title: ABANDON THE FUTURE

Statement: What will the future look like? Will it be this eco-friendly, clean, robotic and streamline vision we once had? Will it be better? I hope it will be better. Maybe it won’t though. What if it isn’t better?

Through gathering public opinions from two surveys, I hope to challenge the ideas about “future melancholia” that modern philosophers such as Mark Fisher have claimed is the biggest cause of political apathy in our time.

Many of the survey responses expressed a general sense of the loss of hope for the future, a sense of dread and sometimes a sense of fear. Amongst this there was a general sense of feeling at once apathetic and overwhelmed.

I have been photographing abandoned urban spaces all summer and through September. By examining why these buildings have been left empty, I feel that I can reassure myself of some of the causes of our current problem. All of these buildings represent the changing of time, the constant upgrades, the constant search for something better in our present day. For me, this represents society, and how we may constantly search for an answer to a question that we do not yet know.

Body of work: I want to delve into the imagery of abandoned places and new places. I will use my drawings and digital work to generate a sense of overwhelming change and displaced temporality. I will attempt to bring the colours of abandonment into my work. Looking at my own photographs of junkyards has also encouraged the colour scheme in my work for this project.

Research: I will research methods of creating distress in my work through experimental drawing, printing and painting as well as digital sketches. I will use my survey responses to insert text into these paintings to literally reflect the feelings of abandonment and future melancholia.

[emilykanetip]

Abbey Solicitors, Manchester. Edit by me.

[emilykanetip]

Paintings of Buildings, 2, 3

[emilykanetip]

Paintings of buildings 1. 

[emilykanetip]

There are lots of treasures to be seen along this eerie strip of road that runs parallel to the docks of Liverpool. Remnants of old factories, desolate shop windows and barren doorways, graffiti covered walls with overgrown wild plants. As I walked down from Queens to Huskisson, a large cascading wall separated me from what would have been a beautiful sunset on a shimmering sea, forcing my gaze to fall on the buildings alongside me. Any other day they might have been dull, lifeless, even frightening. However, this day was just the perfect day to explore these new grounds. Not a soul in sight, I took my time peering into the decades and centuries of history in those streets as the evening sun did it’s best to light them up for me.

[emilykanetip]

N.I.A.M.O.S. Radical Art and Culture Centre. 

Walking around this space, totally on my own with the trust of those occupying it, I realised that this was possibly the first time I had seen a theatre like this in such detail. When I have been to places such as this before there have been ushers placing you in your seats and whisking you off outside when the performance is over. What a pity I thought, that I was only taking in the full scale of such a beautiful arena now that it has new owners. Amongst those new owners was me. I had now taken photographs of the cracks in the ceiling, the beautiful blue lights against the pure red of the velvet chairs. I had forged a relationship with this space already, something that had never happened before I started examining and photographing these ‘non-spaces’. From occupied to abandoned to re-occupied, the non-space becomes a cacophony of new delightful of atmosheres. Not only did you see the details of its previous life, the imperfections caused by this transition. You could see and feel the layered temporality of past, present and future within the walls of the theatre.

[emilykanetip]