Patchwork

Chunghie Lee 'Patchwork Skirt' 2001

Available at:

http://collections.vam.ac.uk/item/O105229/skirt-lee-chunghie/

Patchwork as a technique is a key source of inspiration for this project. I thought the V&A archive would be a great place to look for relevant contextual textiles. Lee's work features beautiful colours pieced together delicately through stitch. The sheer quality of the fabric used, possibly a chiffon is of particular interest as I have been experimenting with translucency within my own work and am keen to incorporate this within my final collection, possibly featuring stitches visible on both sides. The colours here are nostalgic and pastel like, yet vivid and bright which relates directly to the colours I am working within my own work.

Unknown 'Skirt-Cloth, Patchwork'

Available at:

http://collections.vam.ac.uk/item/O39240/skirt-cloth-unknown/

This patchwork is profusely different to that of Lee's, however it is important to me to be able to seek inspiration from a wide breadth of sources. The scale is beautiful and thought evoking. Pieced together so delicately yet effortlessly. It has shown me that patchwork doesn't always have to look craft like and lo-fi and can be precise and intricate with a highly skilled level of finish.

Matthew Harris

Embroidery Magazine (November/December 2008)

Surrey, The Embroiders' Guild. 

Matthew Harris' work is how I would typically define 'patchwork', his work is particularly relevant due to the emotional attachment which can clearly be seen within his work. The colours used evoke a sense of nostalgia and reminiscence. The visibility of the hand stitch is key as I can relate to this strongly. This is an important part within my own work. Piecing together fabric is a brilliant way of creating a sense of emotion. The sepia like effect of colour works perfectly to add a sense of weathering and erosion. This faded element allows me to relate directly with Matthew's work, as I have been using washes of Indian ink and tea staining fabrics to create a similar effect. Eliminating white has proven to be a liberating way of working, and I'm sure Harris feels similarly.

Maria Thomas

Embroidery Magazine (October/November 2011)Surrey, The Embroiders' Guild. 

Maria's work has been particularly inspiring. Her piecing together of found scraps of fabrics,vintage lace and buttons and ribbons creates a strong sense of story, evidently very personal to her. This emotion coming through within her work is how I feel about my project and how my samples and sketchbooks are developing. In this embroidery magazine article they reminisce on the idea of fabric as a commodity. In past times fabric was inexpensive and piecing together scraps was a practical way of creating. This relates effortlessly with the idea of 'rationing' seen throughout the war, generally making the most out of limited items. The emphasis placed upon handmade processes within Maria's work is also particularly relevant as I am piecing together my work with lots of hand finishing. 

Rhiannon Williams

Embroidery Magazine (March/April 2009)

Surrey, The Embroiders' Guild. 

I see Rhiannon William's work as a modern take on patchwork. Her work is less traditional than the other inspiration I have looked at, however no less relevant. This collection of lottery tickets have been stitched and pieced together to show her obsession and addiction to entering the lottery. Patchwork can be a medium to explore many topics and themes. Splashes of vibrant and bold yellows and reds emerge through in a eye catching but not overpowering way. Accenting colour features heavily within my project. I can relate to the introduction of text and numbers within this piece as both of these elements feature heavily within my project through my use of my great grandfathers old accountant books. They may appear as just a number or mark but their beauty is so much more. These marks don't have to mean anything, and can be whatever the viewer deems them to connote.