The group liked my abstract style of drawing because of it's loose qualities in the drawings. They found the marks that I created in a range of media. The scale of my work is large and dominant, which the group felt complements my layered compositions.

Because my work varied in style and subject, the group felt that I could narrow my subjects down. For weave my work might benefit if I did more painting observations of texture and colour. Also I could photocopy and blow up areas or my current drawings that could be collaged and manipulated

Georgia Fisher

Georgia uses her  paintings and collages to base her luxury weave samples on. I feel interested by her work because of the way that she has captured moments of charcoal alike marks in yarn textures. I think that her working method is similar to my way of practise, because I like to base my woven work on the colours and mark qualities that are in my paintings.

Henry Moore

On a visit to Thailand,  I collected coral that washed up on the beach. I concentrated on the ghost outline shape of coral so I drew the negative space around leaving the blank shape of the coral. Henry Moore's sculptures and drawings have very organic shapes that arc smoothly and allow the tone of shadows to add more extravagance to the shapes. 

Zaha Hadid

Zaha Hadid is a  

Rob Sawer

Rob Sawer builds up a surface to bed his abstract landscape paintings over. His landscapes are painted as though they are viewed from a satellite and focus on the light and sky, earth and ground but also time and memory. Earth is shaped by the weather but also the foot steps. I often find interest in the natural staircases in the land that have been created by cattle. I find natural things to be the sauce of patterns and texture and see the things as ever changing pieces of art because ineveitably these things will not stay the same forever. It would be interesting to Create a piece of cloth that I could constantly evolve over time. 

I think that in many ways something I could weave could evolve in its intentions of use, which is another way of evalution. Rob Sawer has inspired me to work directly with texture and  to process paintings/collages that usually I would leave alone. 

Aline Nakagawa de Oliveira

Aline Nakagawa's work is based on DNA however I have a select interest based on the way she captures a pattern but It doesn't flow her patterns in a repetive way. Her yarn choices have a reflective glair from the depth of shadows of the darker toned yarns. I think that Aline Nakagawa's method could be a similar way of working to mine because I use the colour and tone changes in my paintings which I then relate to weave samples.

Material Mnemonics

Zana Ajvazi 

'Work inspired by research into material innovation, and the crossovers between textiles and other disciplines, including science and socio-economics; also the intricacy and interplay of different cultures, materials and traditional weaving techniques. - See more at: http://www.texprint.org.uk/index.php/designer/zana-ajvazi/#sthash.4AnoWYFZ.dpuf' 

Zana Ajvazi's work manipulates her woven textiles to experiment with new technology, however I am interesting in the  lack of certainty in the way the fabric will evolve after being processed. The steam beds could be an interesting way of creating a three dimensional form in the cloth in a way that connotes the change in process of weather and wear and tear. 

I visited the Royal Academy of Arts Summer Exhibition. The textures within the exhibits were what caught my attention. I found that the changes of natural objects were particularly interesting because of the way they naturally decompose but the way they disfigure due to them being processed unnaturally. It made me consider the beauty and art that is created unintentionally and uncontrollably. As an example rusting metal, rotting wood even the wear on car tires. 

A cropped image of a charred wooden block. At the Royal Academy of Art Summer Exhibition.

David Nash is a sculptor who uses wood. His work inspires me because he uses raw edges in his work. To me this is a very honest way of working by allowing the medium you are using to be beautiful out right by it's self.Although wood as a medium for my Textiles based projects wouldn't be something I could use, many of it's qualities can be translated through yarn. Also the formation of the fabric could relate to this style of sculpture and could have three dimensional qualities.

On a quest to find inspiration within the small mundane things around where I live, the things that I usually over look, but from seeing the RCA Summer Exhibition I wanted to look at the things that are not in a state that generally would be considered 'perfect'. This tire has a formation that was intended for reasons beyond its appearance, there has been a lot of control in its design though as its been used the wear on the tire has happened through no design control. With that thought I want to consider pieces of art work I could create with a lot of design control then allow the piece to gain character through no control of my own. Possibly through weather or sanding it down.

my close up image of a car tire

ELLE Decoration is always a big source of inspiration as I am very interested in interior design, I would like my textiles career to link closely to interior, whether that be with fabric or more sculptural pieces like lighting. The August 14 edition caught my eye because of its uses of drift wood for furniture. I like the uses of natural materials and the colour schemes are neutral. The interior has been upcycled from 'dyed grain stacks' which has interesting textures in it.