Print Design, semester 1 second year, Textile art Design and Fashion at Ulster University, Belfast.
Poppy Road colour combination, screen print repeat
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@samantaradek
Print Design, semester 1 second year, Textile art Design and Fashion at Ulster University, Belfast.
Poppy Road colour combination, screen print repeat
First year Print Design, primary colour obsession,
Shoe design.
Year 2 Getting my hustle back
The year started so quick and only gained speed as the weeks progressed. Between making decisions about workshop specialisation, finding a placement, getting my mind back to ‘work mode’ and sorting through some personal stuff, there wasn't really any time to catch up.
But now with my 8 week placement finally finished, my first workshop completed and some spare time on my hands I can catch up with you guy.
Placement has been wonderful, I had my placement with Una Rodden a Belfast based designer and her team. Una has two boutiques, she goes to Paris to shop for incredible pieces and also gives a platform for other Belfast designers to sell their garments, she designs for a range of people varying from bridal to evening/ formal wear. Within that she has different categories and price ranges. While running the boutiques and sewing shop, she also showcases at Belfast fashion week and any other fashion show based in NI, which keeps her very busy. Her team has though me a lot about hand sewing, pattern cutting and working directly with the client, while advising and mentoring me throughout the entire process. They have been a blessing, pushing me out of my comfort zone but never making me feel too much out of my dept.
As for the workshop specialisation, I decided to pick Fashion and Print as my two areas of study. First workshop being Fashion I felt terrified especially since first year has been such a bumpy journey with no professor to lead the classes. This year our ‘Professor’ was one of the resident student Jenna, along her side we had two new technicians which was amazing, all of us got a lot of one on one tutoring, something that we definitely required after last year. The Calico project was a brilliant idea, it took the pressure of us having to make a finished garment and gave us the time to play around. I decided to continue with a line up collection that I sketched out during the summer based on poppies. While doing my research and with Jenna’s help I came across the concept of fraying fabric from that on my ideas sprung rapidly. Sculpting on the mannequin enabled me to work directly on the human form and adapt different patterns and techniques to convey my initial concept. After making my calico design I went further one with my research and decided to use recycled denim for a final piece that I can put into my portfolio.
End of YEAR 1 TADF
Reflecting on year one seems like an important thing to do I took my time to first personally analyse everything I went through but I guess I'm ready to discuss it with all of you guys. Year 1 has definitely though me discipline and to work in a certain format, to build up my work ethic and to have fun while creating. I'm definitely a designer I'm not sure if I'm a maker. Print was definitely an interesting workshop the energy of the tutors and professors was contagious but since it was my first workshop and at the time there was so much of "getting use to" new things. I feel like I haven't reached my full potential. Also at the time I focused so much on colour theory that my design wasn't up to standard, still gives me nightmares. Knit was a challenge to say the least, I lack a lot of knowledge when it comes to the technical side of knit, I didn't even know what questions to ask, since I tried very hard to not sound stupid. At the end I had a finished project, but it took me twice as much time as everyone else. But this was when I started to understand that there's a certain format to the projects: 1. The inspiration/ mood boards/colour boards etc.2. Technical sampling and learning of techniques3. Start of sketchbook based on colour and one's inspiration.4. Making of final samples and the technical file.If knit has taught me anything it's this exact format to success. My weave experience was quite rigorous, there is a certain way of doing things and thats just it, yet within it lied a freedom to make something from scratch a piece of material that tells your story it felt very organic to do. Also learning about different yarns, different forms of weave it felt grounding for some reason beyond my understanding. And although I had no previous experience with weave, and I definitely took more time then the others I enjoyed it. Then came Embroidery, at first I was unsure about it, but to be honest it was the only workshop I had previouslyexperience in, which was very limited nevertheless I was exited to have a bit of a backbone. There was the hand stitching and the machine stitching, at first the machine was a scary thing but I got use to it and throughly enjoyed the workshop especially since I explore a good bit of my Polish heritage and took inspiration from that culture. My last workshop was Cut'n'Sew a workshop that looks both at the design aspect and the making of a finished garment. With design I am quite comfortable at this point in my life, there is of course a constant need to improve but I am content. Were as the making of the garment is a difficult task I am one of those people who is afraid to try incase I make a mistake, but now I know that if I don't try then I will never make a mistake therefore never learn. I want to improve my seamstress skills but don't quite know how. Practice makes perfect they say yet I have too many questions that need answers to start my "practice". The research I did first for Cultural Context and then for Research & Writing helped me greatly in my understanding of the workshops. I will write a post about those two sometime. Thank you for reading. xxx Sam
Rebirth
Always shifting, changing,Metamorphosis: the process of transformation from an immature form to an adult form in two or more distinct stages. By definition that is, a painful process if you ask me, yet it happens and it happened to me throughout this year. I have grown so much, I have changed, the confusion of feeling like one's soul is out of one's body or one's body is out of one's soul, overwhelming. The finishing point, that made me re-think my life? The death of my Grandpa, before the 12 of March 2018 I have never experience relative's death. In my head I had the silly notion of my grandparents being forever immortal, untouchable, of me visiting them every summer telling them about my adventures, I guess they are in my memory. There is so much lessons that my grandpa though me, so much I wanted to thank him for, so much I wanted to tell him about. Yet he was gone in a flash, leaving his wife, his children and his grandchildren.
Stages of grief:
That night you couldn't sleep it was past 12 but your brain couldn't turn itself off, one of your split-second thoughts was;"he's dead, grandpa is gone."
You knew he wasn't well after the operation, you fall back into the abyss of sleep. Waking up your uncle asks you if you're going home to Poland.
The question being so irrational that you dismiss it without asking why.
Then he tells you: Your grandpa died last night.
At first you cry, you cry so hard that the reality becomes a blur of regret and emotion.
You go to University pretend like everything is fine, keep it all in, don't want people to see you cry.
Leave for the airport, you are nervous, the flight, the car, just going through motions, you’re in a church praying, you see his body unmoving in the coffin.
Back home, everyone is quiet, just enough small talk to keep the ghosts from coming, no one is drinking.Upstairs, his bedroom lies empty, granny said she'll sleep there tonight, you hope he won't haunt her.
The morning ,black clothes, wear makeup, so, no one sees your puffy eyes, you find the poems you wrote for him a while back, show your aunt, change them a bit, make them 'funeral ready'.
The drive, funeral, Your aunt reads them while she sobs, Placed them into the coffin in grandpa’s hand.You want to laugh at the priest, the nun took out too much holy-bread, so, he shoves it into his mouth, while the organist plays, downs it with some water/wine,
Hypocrisy.
You're outside, they have taken the coffin, you hold your grandmothers hand, both of you feel weak, you need someone else, your mother is on the other side helping, she seems to take it all into her stride, she never was fond of grandpa,
At the burial site, you're holding a rose, There’s an accordion playing, its grandpa's tune, "Szla dzieweczka do laseczka"
You almost lost your grip on reality,
You're back, the funeral is over you go and throw the rose into his grave, a seldom goodbye, you're lacking closures as much as anyone here, regret not coming over in January, why didn't you?
The restaurant, you only know a few people ,they're all talking,
You see your godchild Alek, decide to keep yourself busy with him, you feed him, but then he's off playing with the other kids, you hold your granny's hand under the table for a while.
Try to make conversation, it’s all over, you met some new family members. Going back to his grave with granny and her sisters, they talk, there's some lads who are your cousins, you make small talk, your chest feels heavy, keep it in Back into the car, then home.
Your alone in the kitchen, you can almost see him sitting on the stool smoking by the old stove that's non-existent now,your tears are dry, your throat hurts Then you get mad, so so mad. How dare he leave?
How dare he go without saying goodbye?How dare he not be there for me when I have important news to tell him?How dare he not stay and see my future?
You make it personal as if he wanted to leave and let you suffer, not realising that cancer is a serious illness, he was in so much suffering after all of the chemotherapy and radiotherapy.
This is not about you, it’s about him, about his life, about him being a generous human being. About him telling you stories, making you laugh, listening to your troubles, advertising you, putting you first, unconditionally loving you no matter the upsetting things you have said to one another in the past.
You hug your granny in the hallway and say your goodbyes,the house will be so quiet and lonely,your uncle is telling you, you should stay (joking)By the time you reach the airport you decided,going out of the car you hug your uncle and say you can't go. He leaves you stay, your aunt sheds a smile, it has been a while since she did that at anything other than Alek.
You drive back to your Grandparents knowing that now you only have one, it stings.Acceptance: You had to sleep in his room, thinking it would be hard, you looked through his closet, put one of his farming jumpers on out of sentiment,(it smells of him of burnt wood, cigarettes his cologne and air)then cried yourself to sleep.Night after night for two weeks.
You didn't want other relatives to know, so, when your aunt comes into his/your bedroom, lies on the bed and cries.You are numb.Unable to comfort her, or yourself for that matter.
You tell her it will be better with time, because time heals all wounds.Yet she cries, its not the same without him,There’s no one to throw a joke no one to give you something to do.
Just his/your room and the closet filled with his life. You can't sleep, you wonder why?
Old memories fill your head, the porcelain duck that could lay eggs, the horse and the wood engraving, him teaching you how to draw, showing you different tricks, waking you up at 4 am to go ploughing, driving the tractor while you sat on his lap, tickling you until you couldn't breathe, carrying buckets of feed for the pigs, milking cows, showing you his not-so-priceless coin collection, buying you ice-cream always asking for his change, life in itself is so complex.Your granny looks awfully sad, she tells you that it might be her time soon, you get upset, tell her she can't leave, she needs to wait for great-grandchildren, not from your side but you have sibling.
She laughs.
And you know that she will be alright when you leave.
This is a poem I wrote after my grandad pasted away,
thank you for reading,
Sam xxx
January Poland
I have agreed to be a tour guide and translator for two of my acquaintances, it was a good idea, but it was also an experience that will remind me for the rest of my life why I didn't want to become a translator but an artist. The trip was nerve wrecking and tiring, it was my first time solo endeavour to the country of my origin. I would travel to Poland but only to visit family and friends never to actually stay in a different city and visit museums and galleries.The translating in itself was a hard job to do, I have never professionally translated before (not counting the one time I translated a book for my aunt) and to do it automatically on the spot was tough nevertheless I managed just fine. During my stay in Poland I visited the Museum of technology and communication in Szczecin, Pomeranian Duke's Castle and their Gothic exhibition ,the National Museum in Szczecin, along side some historical monuments, then in Warsaw I encountered an exhibit in the Natural history and Evolution Museum in the Culture Palace. A lot of art to take in.I was in Poland for 5 days and during that time had 6 flights which probably made my trip that much more exhausting but the cultural experience I took from that trip is still overwhelming. I wish to do more traveling experiencing new culture is refreshing and joyful.
"MOTHER OF ALL BATTLES" 1996 BY Grayson Perry
Grayson Perry “Mother of all battles” 1996There is something so utterly captivating in people who decide to embrace themselves as they are, unapologetically who are not bound by cultural barriers or traditions within society. Grayson Perry dressed in his first ever embroidery piece as his alter ego Claire, holding a gun with the Yugoslavian city in the background is most certainly one of those people. The applique motifs on the dress from a distance, to the oblivious eye, seem ordinary and well-crafted, portraying magnificent art work yet, upon close inspection the details of disturbing war scenes: murder, rape, paedophilia come to life. Perry’s use of juxtaposition of the folk costume, something of deep cultural importance with so much violence, without compromise, raw, unsettling, question evoking, satirically narrative, telling stories most of us do not want to hear. He is the voice of the silenced one, using “guerrilla tactics” to express his difficult childhood and the troublesome journey of masculinity. Perry is liberated throughout his art. The winner of the 2003 Turner Prize, in his genius breaks all cultural stereotypes surrounding his personality, whether with his subversive ceramics or embroidery, provides ethnic cleansing in “The Mother of all Battle” and uses the archetypal European folk costume to comment on issues of nationalism tribalism and religious intolerance.
References:https://www.theguardian.com/artanddesign/2003/nov/21/art.turnerprize2003https://www.britannica.com/topic/Mother-of-All-Battleshttps://www.thetimes.co.uk/article/grayson-perry-im-not-feminine-at-all-xn2dwtwxcGrayson Perry: Guerrilla Tactics 1960
"MY BED" by Tracey Emin
Confessional, uncompromising, traumatic, shocking, oddly cathartic, uncannily, radical, courageous, unapologetic, these are only some of the words that come to mind when thinking of Emin’s “Bed”. However most importantly it was and still is quite a challenging exhibit.The installation with cigarette buds, condoms, vodka bottles, dirty underwear, and much more reveals the “grotesque” side of life, it is an expression of a miserable time, a low point in life. The bed itself is unmade, with seminal sheets, juxtaposing the classic ideology of a ‘bed’ that is often portrayed in art, for example in Manet’s “Modern Olympia” (another controversial painting of its time) or Van Gogh’s “Room”.During the time of the Renaissance and in some cases still today we associate ‘bed’ with ‘women’ a mythological luxurious goddess. Emin breaks that stereotype, showing a darker side of the feminine bed experience filled with raw emotional turmoil, which confronts socially acceptable norms and inquires people’s perceptions while redefining the association of women with beauty. It’s the contextualisation of our work that makes it into art and the contextualisation behind this installation is deeply polemical but also subconsciously relatable to each individual, the disturbance it causes in the mind makes on reflect on personal experience, perhaps that is why some at first glance find the installation vulgar and others fascinating.
Adaptation is key
The Knit Workshop:
Both Neri Oxman and Rad Hourani have inspired my designs for the knit workshop. My main theme was innovation and gender neutrality. The colour palette was subtle with a bit of yellow for contrast, I don't think that unisex must be monatomic. Sometimes vibrancy is as effective. I have chosen 3 tunics, a coat and a short sleeve jumper with knitted patterns on the trousers.
My initial mood board. Changed greatly through out the knitting process.
My final samples:I would love to spend more time in knit, to make a final piece of clothing. Although sometimes I felt like the machine I was using didn't like me much, but I hope to bring over a positive attitude to my next Workshop.
Transitioning from what I thought I knew
The Print Workshop: This is were I last left off, well a lot has happened since then.For one I am in a different work shop but lets talk about Print first: From cultural context I carried on with the theme of Africa but more in partiucular South Africa, I have friends from there, this allowed me to learn more about their textile, the people, the variety of culture and the overall structure of the country.
A souvenir painted by a local South African artist I received from my friend.
With these objects, the book on Ancient African Costume by Mary G. Houston, The Cave Artists of South Africa by A. A. Balkema and some online reseach about the TextileIndustry and textile artists such as Chief Nike Davies-Okundaye who is my favourite African textile artist. I started experimenting in Print. At first we used ready to use stencils, but gradually got to produce our own ones. If I got to do print again I would definitely change the artwork I produced for my own stencil. I would explore the shape and form more then the ridged contours and fixed illustrations.
The whole process of print however is quite interesting, and I would definitely like to explore it in more depth, especially the technical side of print. With different inks and pastes giving different results, the idea of using a variety of techniques on one sample sounds very appealing.
The Lectures:
Through out the semester we had a lot of lectures some very technical other quite abstract, but what all of the lectures let us do is experience the world from a different perspective. Whether it was the impose perspective of our lecturers or the fact that we had to rethink or redefine our own ideas within fashion and textile. As first year students our knowledge is very limited, and the fact that our ideas are being reshaped lecture after lecture is no surprise. Compromising gender and the idea of unisex clothes is not foreign to me, but the impose rules of society and the effect it has on fashion is astounding. The now trending idea of 'up-cycling' clothes, was one critical aspect of the lectures that made me reflect and redefine my ideas about fashion and its impact.
Gender:
One of the biggest issues surrounding fashion is gender, its identity or in some cases lack of identity. With social media playing a crucial part in the reshaping of the modern society, as designers we need to ask the question: Is the future of fashion unisex? The boundaries between male and female fashion are at this point in time quite blurred, there's no set rules to follow in fashion anymore uniqueness and expression is what sells. And new designers are faced with this dilemma. One book that helped me with understanding the lack of boundaries so popular in the 21st century was 'The Art of Looking Sideways", it has become my bible when it comes to art and design. Designers such as
Rad Hourani
have promoted Unisex designs and are leaders with the unisex movement. The research on Unisex was inspired by one of my lecturers and have come through greatly in my Knit Workshop. Rad Hourani has been described as "not just a designer, a photographer, or an artist. He is all of these at once. His work is an attentive observation of humanity that celebrates neutrality as a defining human trait. The Rad Hourani process advocates non-conformity as the essence of individuality. He sees modernity as an odyssey free of nations, gender, age, race, limits and conditioning."
Sustainability:
Fashion is the second dirtiest industry, it comes right after the big, bad, corrupt, oil corporations. I had to pause, the lecture went on but that's all that I heard on replay in my head. SECOND DIRTIES INDUSTRY in the world, I knew that fashion wasn’t flawless but at the same time I didn’t expect it to be that bad.
The Story About Stuff is a great youtube video, it makes you feel accountable for the vicious circle of consumerism. To all the people that think their decisions don’t matter, well they do.
Fashion is trying to change, designers are looking at new environmentally friendly methods, some big brands such as Gucci and Micheal Kors are going fur free. Others such as Vivienne Westwood are supporting up-cycling clothes in their new collections. While designers such as Stella McCartney believe in environmentally conscious clothes production.
But one designer that I researched that struck me the most was Neri Oxman. (http://www.materialecology.com) She is a designer, an architect and a professor at MIT Media Lab, to all I recommend watching her TED Talk
She is a true entrepreneur combining design, biology, computing and materials engineering to achieve a design ‘that takes us from a nature-inspired design to a design-inspired nature.’ She has collaborated with designers such as Iris Van Herpen to create extraordinary garments while using 3D printing.
Some people are going back to the mending and ‘up-cycling’ taking inspiration from Sashiko and artist such as Junko Oki while others go as far back as science can take them to the singular cells and organic matter to create clothes that could become second skin to us. Its fascinating living in such an era where possibilities are endless. The TED Talk also reminded me of a poem I wrote a while back called "Mother Nature"
"Dear Mother Nature,
I will ask for your forgiveness regardless,
Because I want to know I've done my hardest,
To save you and me all over relentless,
Although deep down I know it's hopeless
Long lost is the day for forgiveness,
But I have to ask for my sorrowful fouls.
Knowing the crime that's done will take its toll,
On the scourge that's the human race and the disaster we have become.
Once again we've dismissed you,
We have taken what we wanted, leaving nothing in return.
We have become a parasite not a symbiote,
On this wonderful planet we call our home.
We have conditioned each other to numbness,
Yet I feel every word every gesture surrounding my own,
The intensity of those emotions drowns me.
Each time I try to amend people's negative thoughts,
They become my own and I compensate them with a precious piece of my soul."
Some examples of Oxman's work : MUSHTARI (Jupiter)Designed as a single strand filled with living matter inspired by the form and function of the human gastrointestinal tract.
ANTHOZOA A 3-D printed dress was debuted in the Paris Fashion Week Spring 2013 as part of collaboration with fashion designer Iris Van Herpen for her show "Voltage".
During the course of the next four years I hope to explore and study more innovative approaches to design but also want to master the art of traditional textile and hopefully create a unique perspective on textile and design.
Ulster University Part III
Week 3: The second Ulster Museum visit: Discovering fashion history with Ulster Museum.
Chanel from the 1950s
Intricate weave from the 1920-30s
Versace scandalous outburst of colour and almost too overwhelming print made by Gianni Versace the founder of the brand.
Ulster University Fresh Start Part II
Week 2:
Summer Project:
The limitations of Masculinity
Men:
I search for men with
Butterflies growing from their minds,
And
Femininity flowing from their tongue.
I search for men with
Sensitivity burning in their veins,
And
Softness turning in the marrow of their bones.
I search for men with
Patience running under their skin,
And
Passion glowing in the light of their eyes.
I search for men with
Kindness in their hurried stride,
And
Creativity sparkling from their fingers tips.
My wearable piece:
Inspired by the 1920s the dress has minimum shape.
Added badges, cut and re-sewed the black transparent top who's ending gives the dress a longer length.
Cultural context and Colour Theory:
The importance of colour in every commertial industry or otherwise is unbelieveable. Without colour everything would turn monothomic, blunt, without expression. Colour lets us declare our identity, convey our feelings and moods, it allows us to enter a certain atmosphere sometimes even escape reality. Always changing eg. in the Victorian times Pink was believed to be a masculine colour and was used for both men and boy clothes while Blue was worn by the female population. During our dynamic day and age colour is a vital part of our everyday life we are being influenced and navigated towards the better more colour appealing option ever second of every minute.
Colour theory workshop, the best way to learn is with hands on approche. Depending on the amout of dye and soda used the colour will differ.
The art of weaving was exploited at large with the colonisation of Africa, now the culture of weaving can also be seeen in the Afro-American culture. The realisation that culture and tradition travel within the soul of a person is facinating. The parallel between both continents is astonishing. African textile and embroidery are rich in symbolism and meaning from the colour used to the shapes embroidered. One of my favourite African designers is Chief Nike Davies-Okundaye who embraces the Nigerian culture and their vigiorous colour palet.
Ulster University Fresh Start Part I
On the 18th of September 2017 I walked through the door of Ulster University and started living for my passions.
Day 1:
Terrified and Thrilled to start this journey,
collage of me made by Cath Alvarez, the resemblance is striking.
Felt incrediably
happy with how quick I made friends while doing this exercise.
It was spontanious, it was quick, it was creative, it was fun, best way to start university.
Day 2: Ulster Museum Drawing Day
'Chaos isn't a pit
Chaos is a ladder' (GoT)
There's
beauty in chaos, there's
imperfection.
5 and 2 minute sketches.
The mummy of Tjesmutperet made me wonder about the afterlife. The Egyptian gods and culture in this point in history is none existing.
One of the most magnificent cultures is now scattered around the world in museums, so that we can get a glimpse of their culture and traditions.
Colour theory put to practice at Ulster Museum, aestetically pleasing.
Week 1: Fashion & Freedom Project and Exhibition:
Celebrating 100 years of Women's right to vote.
Women have been deniedOver years decades centuriesYet the oppression still exist today,Whether a women of colour or pale,We are all victims of circumstanceDue to our own sex.
They call me strict and righteous, greedyAlways reaching for moreYet all I want is equality for all,Discrimination has to stop,We have gone through enough.Be proud, be bold reshape the society,
So that we can be free and belong.
As I played with the remaking of this denim jacket I couldn't stop but wonder 'What do women like Emmiline Pankhurst think of us? Are they disappointed? The fight for equality was swept under the rug for quite sometime, but awearness is rising again. And if any one has ever read 'We should all be feminists' by Chimamanda Ngozi Adichie they realise that the issue of inequality is as real today as ever especially with the technology at hand.Helping out with the installing and deinstalling of the Fashion and Freedom Exhibition was another thing I took part in, this was to understand the work that actually goes into an exhibition. Assembling the manequinns, dressing them, placing them in the right positions, steaming some of the garments and last minute fixing of some dresses.
Picture with Jenny and Lucy who where incharge of the exhibition.
They have given me valuable lessons about materials (how to never use latex) and other exhibition advice. It was a great pleasure to work along side people who have achieved so much.
Junk Kouture Ireland 2015
During the course of Transition Year, I took part in the annual Junk Kouture Fashion Competition 2015. The task was to create an outfit from used recyclable materials. My team and I worked tirelessly on the design and its development, using various materials such as: newspapers, pistachio shells, netting, puzzle pieces and much more. This event allowed me to experience every aspect of the fashion industry; from the first draft to the modelling of the finished piece. This dress is called 'DIVA', it's inspired by Beyoncé and the growing movement of Feminism. The idea behind the dress was to remind women of their strength and femininity. I felt like the dress in order to be effective had to have a soul, the character I created around the dress was of equal importance as the dress itself, I would even go as far as saying one couldn't exist without the other.The trail part of the dress was created with two different matterials newspaper rose machee and sharp dimonds made from juice cartons. This opposition of softness and sharpness aided in showing that to each women there's more then one side, we can be soft, we can be sharp, we can be everything in between. The goal was to portray the complexity of the female spiritand how fierce women can trully be.