emmafiber

3314 / 3315

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| 3315 - Artist Research |

Title: Perhaps We Shall Call It Spiritual

Materials: Direct application, embroidery, unbleached music, wet felt, buttons, beading

Reflection: This piece is supposed to go along with my piece from 3314. This is my tribute to home and the effects that Colorado had on me as an artist and why I became one today. I knew truly understood the impact that growing up in the mountains and in the city would have on me, however I tend to see a lot of pull with nature and urban in my work. This piece is supposed to be representation with my pull of nature in my work. I have an outline of the mountains that sit outside of my bedroom window and colors that are from my childhood drawings. This piece is how I saw my hometown and how it has affected my art today. The title "Perhaps We Shall Call it Spiritual" is supposed to be in conjunction with my other piece as a response to my question "But What IF I Don't Believe in Cosmic Connections?" I truly believe that everything in my life when I was growing up had an impact on who I am as an artist today and why I see art in the perspective that I do.

[emmafiber]

| 3314 - Artist Response |

Title: "But what if I Don't Believe in Cosmic Connections?"

Materials: Cotton fabric, old childhood drawings

Reflection: This piece has really resonated with me as I finish off my first semester in fiber. This semester was truly about getting an idea of who I want to be as an artist and how I want to display it to others. With finding these old childhood drawings, I was really taken back to the birthplace of my creativity. It's wild to think that I had no idea what I wanted to do with my life, yet God had been planting seeds for years before I even knew it. With this dress, I feel sentimental bringing to life my ideas and passions into the real world from when I was little. The title "But What If I Don't Believe in Cosmic Connections" is meant to connect to Susan Cianciolo Spirit Guides and her work related to cosmic connections, stars, sun, and her nature motifs. I wanted to play with the idea that I don't think that this passion of mine is a coincidence or an accident, I know that this is God planting seeds throughout my life and now I'm getting to truly do what I love--so I don't believe that this was a "cosmic connection" I truly believe it's spiritual and faith based.

[emmafiber]

| questions of the week #16 |

Do you think that art should have a purpose? Should it have a purpose for the artist or the viewer?

2. How do you know when a piece of artwork is finished?

3. When you are stuck between two different options while making a piece of art, how do you choose?

4. How do you ensure continuous growth and development as an artist? How do you check up on yourself?

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| 3314 homework project #2 |

Canvas Stretching

I loved doing this canvas stretching project. I wanted to incorporate a mixture of samples I had made throughout the semester to show the progression of where I started with my voice as an artist, to where I am now. Now looking at it from a collage standpoint, I didn't realize how similar my style of art is to one another. I found that my voice had always been in my work, I just struggled to pinpoint it and express it intentionally. However, with this piece, I was able to create one unified collage that told that story of progression. I also included some beading and embroidery to unify the larger piece of fabric together.

Fabric in the World

For this piece, I wanted to create something functional to me, so I created a fiber bag, for all my fiber needs. I really loved how it turned out. I wanted to start with a blank canvas so that I could continuously add to the bag in the next semester. I plan on embroidering it, adding paint, charms, beads, and anything else I might find that represents fiber. I want this bag to turn into small memories and milestones of my journey of becoming an artist in college.

[emmafiber]

| question of the week #15 |

What do you expect from your art education?

Since being fully submerged in the world of studio art this semester, I feel as though my expectations of art have changed. Coming into this, I didn't expect to study each discipline so intensely. I have gained so many skills from each of the disciplines and who I am as an artist with the few studio classes that I have taken. However, one of my biggest worries is how to become successful with this major besides being a commission artist or a professor. I believe that this major always for opportunity, which is what I love, but I strive to understand how to apply these skills in a real world context and professionally for that matter.

Have there been any distinct experiences that have steered your work in new or significant directions?

I truly think since being in these new fiber courses I have had many moments that have steered my work in a positive and new direction. I've really been able to submerge myself into a discipline I really have a passion for. Coming into this major, I was nervous that I wouldn't have a moment where I felt that way, however in the last few weeks of the semester, I have found myself finding a new sense of enjoyment in the world of fiber. I feel a sense of belonging and excitement in the studio. I've learned to push myself and my creative limitations, and since having this new mindset I feel like I am really getting a grasp of who I aspire to be as an artist.

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| tufting - 3315 |

I actually really enjoyed this process more than I thought I would. I was really intimidated about being able to create an image the way I wanted to and making sure I had enough control the whole time. But I really liked experimenting with mixing colors and movement through tufting. I did a sun and wanted each of the rays to be irregular, but also wanted to play with primary colors. I really liked how it turned out.

[emmafiber]

| color of the week - week #14 |

PRIMARY COLORS

Primary colors was definitely difficult to incorporate into my outfit and everyday wear. I used to be extremely drawn to primary colors, especially together. I also recall it being a very present color set my freshman year of high school. It was often paired with a deep forrest green and often put on "collegiate" or collared shirts, with names of popular colleges on them. However, it burned out really quickly and I now I tend to avoid such vibrant colors. However, I do love using them in my art, in more muted tones. I'm drawn to using reds as pops of color, mixd with blues and pale yellows. I think in the right composition and context they can work really beautifully together in art, however in clothing maybe not so much.

[emmafiber]

| natural dyes day - 3314 |

I really liked the uniqueness of this process of dying. It got me thinking how nature would exist in the world of fiber and how they would decide to exist on a piece of fabric. I liked not knowing how they would turn out and how pigmented they would be. The process was very unique, but it made it all the better.

Before: I found that I was more attracted to how the shapes of some fo the leaves would transfer, so I wanted to make sure to include some larger pieces in each of the pieces of fabrics, along with variety of color.

After: I really liked how the onion skins transfered and how pigments the dyes were. I also really enjoyed being able to see the veins and outlines of some of the leaves on the fabric afterwards. But my surprise some repetitive patterns came from this as well, which I didn't think would happen since the leaves got mixed up once I folded it.

[emmafiber]

| question of the week #14 |

What skills have you needed to develop to enable you to be successful as an artist?

I think being able to understand that my ideas may be bigger than my skills and it's okay to learn how to do something during the process of creating a piece of work. I have found that I am inspired by so many ideas when planning my studio projects, however I tend to give up on many of them because I don't know how to execute it in the way I would like to. However, when resources like Youtube and asking questions about certain skills in class has not only allowed me to understand more about fiber, but has helped me to be open to larger and more complex ideas.

Do the beliefs of an artist ever play a role when you come to choose the art you engage with?

I really liked listening to these conversations in class and the two opposng ideas that came from both classes because I have truthfully never thought about art in that context. I think since taking art history classes and becoming more conscious of art and its meaning, I have thought about the artist in the context of an art piece, but never thought about the morals of a piece in the context of the artist. I found this surprising because my art is so personal to me and the person I like to believe that I am, however when looking at art I tend to just focus on the art and the elements that are included in it. However, I really liked knowing different perspectives about this topic in class.

[emmafiber]

| question of the week #13 |

Are there any particular activities that you do everyday as an artist?

I think one of the biggest things I have found myself doing everyday since practicing art my commonly is always looking for inspiration, in everything and anything. I often am on Pinterest or Instagram looking at inspiration for projects or things that I'd like to turn into my own. I start collecting or looking for things outside, in class, etc. for colors or designs I like. I think in general I have just become more aware of the elements around me and I have subconsciously continued to look for inspiration in my day-to-day life. Because of this I now have a notebook that I bring everywhere with me, so when I have ideas I write them down, and more common than not end up using them in one way or another. I think since becoming more involved in the art world, I tend to look for art in every aspect of my life now.

What are your biggest fears when it comes to art? Why do you think you have that fear? Where did it originate?

My biggest fear when it comes to art is how to be successful in the ways I want to be. Studio art does not give you a guaranteed job after college or one straight path to follow and I'm scared of how to use the skills I've gained in school in the real world. I think coming from a business major where there are endless amount of jobs and opportunity for you to pursue, to coming into the art world not really knowing what direction I want to go in. I know 100% that there is nothing else in the world I would rather wake up and do, however I do worry about my future and how to make a living for myslef with this degree.

[emmafiber]

| gelli-printing 3314 |

I really liked this process of gelli prints and the ability to mix colors smoothly. I really liked playing with all the textures and layering the colors I was using so the majority of my prints go together. I ended up doing a layers print with no texture to see how the color would transfer and I really liked how it layered with the textured stamp on top.

Overall I really enjoyed this process and especially liked working with fabric paint.

[emmafiber]

| Studio Project #2 - Sketch Post 3315 |

Artist: Sarah Cain

Response Work: "Self Portrait"

For this studio project, I would really like to explore the idea of what I would want my self-portrait to look like, or rather how I would display myself through art as of now. I really like the use of abstraction and color in her work and want to establish my own color palette through this process as well. With the use of the same drawings and sketches from 3314, I want to create my own version of my self-portrait with the use of fiber.

Sketches:

A lot of Sarah Cains work, while a painter, extends far beyond the canvas and I want to explore this idea my studio project. I want to see how my art can extend beyond a structure or "canvas" in a way that represents myself as a person. I want this piece to be my first sense of a "self-portrait" so I want every part of myself to be fully displayed in who I was and who I am becoming. I want to explore this literally through actually creating a piece that "falls" off of a canvas stretchers or something along the lines of a wearable.

I want to use a mix of mediums such as crochet and felting and possibly some beading to show every part of who I am becoming as an artist. As for the scale, if I do use a canvas I'm thinking a 3'x2' is I end up doing a wearable than the sizes with be custom to fit me.

Inspo for my 5 year old self:

After talking with my group today, along with Tina, I've decided to make a sort of collage inspired by Sarah Cains use of color and some of my old drawings when I was younger. I want to incorporate direct application, braiding, crocheting, etc. in order to showcase and replicate the artists idea of different mediums and color use.

[emmafiber]

| color of the week - ORANGE |

I definitely don't use orange nor have it in my everyday life as much as I thought I did. I love the color orange and the warmth that comes along with it, but I think the diversity of the color makes it difficult to be put into everyday objects or wear the color commonly. I have very few orange shirts in my closet, and all of them are bright orange and almost neon. They're very bold garments, however I knew feel insecure wearing it, and even makes me feel more confident than not.

In my art, I definitely don't use it very often, however I love taking photos during sunrises and sunsets and always emphasize the orange hues within those photos. I also use it as a way to disrupt minimal or monochromatic photos.

[emmafiber]

| 3314 - class notes |

Image transfers and gelli printing notes :

Studio #2 Notes:

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| question of the week #12 |

What makes art successful?

I think that the level of success within a piece of work is subjective to the artist and their original motive or purpose for the piece. While the "success" of a piece of art may be measured by the viewer, I think that the artist is the only one who truly knows what they wanted the piece to look like and can measure the success based on the final piece. They are the only one who knows if they portrayed what they wanted to correctly and the only ones who know how to do it successfully in their eyes. Unless a piece of work is meant to be subjective to a viewer, such as a commission piece, it's successful can only be accurately measured by the maker.

Have you had to make sacrifices in order to live your life as an artist?

Most definitely. Throughout high school, I knew that I wanted to pursue art or fashion and had my heart set on one art school--SAIC. However, after graduating and realizing that I couldn't afford art school I thought that I had to let go of those passions when I came to Baylor. Coming into college as an ADM and business major I quickly realized that I was not meant for numbers and charts. However, I knew a BFA was a whole new world I was vaguely familiar with and I had to be willing to sacrifice a guaranteed career and learn to just take what comes my way. And now that I'm in it, I don't regret it at all. BUt I knew that I had to let go of my fear of failing in order to be able to see the potential of my creativity.

[emmafiber]

| 3314 - image transfers |

I really like the possibilities that can come along with image transfers with a better understanding of the process. I after these first two samples, I didn't realize how many times I would have to go back in remove more and more paper. I ended up going back in about 3 times each to get it to where it is now, however I do think that each of them need one more round of water. It is a tedious process, but I would really like to explore with colored photos and/or adding other things such as embroidery, or direct application to manupulate the black and white photos.

Original photos:

Process:

Finished:

[emmafiber]

| Studio Project #2: Sketches Post |

3314 - Susan Cianciolo

Sketches/Notes

I am heavily inspired by Susan's use of "Spirit Guides" used to indicate the processes and ideas of her collections. She uses a cumulation of sketches, patterns, research, etc. in order to replicate the beginning stages of a new piece. I want to respond in my own way through this technique. However instead of the collage indicating the beginning of a collection of work, I want mine to show the beginning of myself as an artist.

I have collected old drawings from when I was really young of sketches I used to make of clothes and fabrics I used to design. I was between the ages of 3-5 when these were made. I want this "Spirit Guide" to reflect who I am as an artist and who I may I want to become. All of Susan's work in very personal to her, therefore I want to do the same with my work as well.

I plan on using a range of techniques such as fabric dying, direct application, my stencil, embroidery, and maybe some sewing. I'm not 100% sure how I will include or display these old drawings, but I want it to be the main focus of this piece.

Either through creating a huge collage or a wearable, this will most likely need to be presented with a mannequin or hung on a wall. If it is a collage, I want it to be a fairly large size, probably 2'x3'.

Pictures of my old drawings!

Susan Cianciolos' "Spirit Guides"

After meeting with John Mark today, I started gravitating towards creating a wearable from one of the drawing I made when I was younger. I think I might want to add a miniature mood board or at least frame and emphasize the original drawing in with the piece. Since the majority of my inspiration from Susan is coming from her Spirit Guides, I want to ensure that I'm including some of the processes of my work with it.