LIVING WITH LOSS Main Collection: Sketchbook
LizAnn Doyle 18th May 2020
Fashion & Textiles for Product & Costume Limerick School of Art and Design
In my work I am attempting to articulate the experience of living a life after losing someone close. I read the poem ‘Clothes of Heaven’ by W.B. Yeats at my wedding and it is special to me. When I lost my husband, it was like an explosion blowing my world apart. Millions of fragments were tossed up into the air. Now in the aftermath those fragments have come back down again. They have come together differently. I have changed. The world has changed. Particles blown apart group together again to form and reform a constantly changing world. In this work my aim is to create a space where an individual can just be, a space that engages the senses at multiple levels. Sight is engaged through the patterns, colours and light. The soundtrack which accompanies the animated pattern projection is NASA’s sonification of a deep space image taken by the Hubble Telescope. It creates a pathway back to the foundation of the universe, the Big Bang. The mats are soft, felted and embroidered cloth encouraging the viewer to sit in contemplation in this space. An electronic diffuser emits the scent of Neroli oil which has a soothing effect on the mood. LIzAnn Doyle 18th May 2020
The Clothes of Heaven - W.B. Yeats Had I the heavens embroidered cloth Enwrought with golden and silver light The blue and the dim and the dark clothes Of night and light and the half light I would spread my dreams under your feet But I being poor have only my dreams I have spread my dreams under your feet Tread softly because you tread on my dreams
Embroidered Cloth Softly
Golden Silver
Dreams Night
Half Light Light Dim
Blue Dark
Exploring the language of the poem... Scatter
Come together Blow apart
Form and reform
Uncontollable
Night
Random
Half Light
Particles
Big Bang
Celestial
Cyclical
Heavens
Sleep
Rest
Light
Blackhole
Rhythm
Cosmic Trail
Cosmos
Star Dust
Diurnal
Shadows
Dim
Blue Dark
Visibility Temporary
Transitory Illusive
Precious
Nightmare Bad
Dreams
Golden Silver
Good Intangible
Tapestry
Inaccessible
Gossamer Gentle
Embroidered Fairisle
Cloth Softly Woven
Caress
Threads Cuddle
Night, light and the half-light resonate for me, as does the softness, beauty and threadiness of the cloth and the idea that we are constantly forming and reforming. Things just do what they do. We don’t control them...
Kintsugi and other ancient crafts....
The broken fragments or scars are celebrated
Kintsugi The art of precious scars This traditional Japanese art uses a precious metal – liquid gold, liquid silver or lacquer dusted with powdered gold – to bring together the pieces of a broken pottery item and at the same time enhance the breaks.
No two objects are broken in the same way Each tells its story and has its own beauty Sashiko Form of decorative reinforcement stitching (or functional embroidery) from Japan that started out of practical need during the Edo era (1615-1868).
Floating World sounds lovely
Kantha Kantha is all about renewal, new opportunities, and second chances. ‘Kantha’ means ‘rags’ in Sanskrit, which reflects the fact that Kantha embroidery is made up of discarded garments or cloths.
Something new from something old Boro It is said that Boro is a product random chance. The unique culture of Japan, such as Mottainai (regret concerning waste) contributed to the process of creating Boros.
I love the idea that broken is not the end game Materials and objects reform They are not the same but they are still beautiful. There is beauty in the repair - that’s intrinsic to textiles
Moonscape in Paphos, Cyprus....
I have spent the last few summers in Cyprus with my husband’s nephew and family. This is a collage of photos of the moon taken during one of our nightly balcony discussions on the meaning of life.. I love the wispiness. It reminds me of the Big Bang. Billions of particles blaseted apart forming a new universe.
Mark making using pastels - inspired by the moonscape
Lunar round shaper. Light of day and night, sun and moon
MM1
Mark making in ink - inspired by the moonscape
Cosmic particles , the dark of night Full of energy - potential to explore for pattern
MM2
Mark making in ink - inspired by the moonscape
The colours of day I can feel the energy. Possible basis for pattern?
MM3
Mark making laminated card and silver poly yarn inspired by moonscape
I like the scale, small and fine and the randomness. It does what it does - what it wants to itself... MM4
Mark making laminated tissue paper and frayed tubular yarn inspired by moonscape
I find this too clunky. but I like the background colour. Black is too dark for final piece. I need to find a dark blue or navy MM5
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Imagine if the words of the poem were silver thread
The words are all around me, swirling around my head. Memories MM6
Taking Elements of MM2 and MM3 to create elements of the Big Bang for a pattern
MM7 I’m getting the feel of movement that I want but it needs to be placed against something
Cleeves Factory Limerick, August 2019
Walking back across Shannon bridge from a film in the Belltable I spotted how the windows of the Cleeves factory grab snapshots of the world. There momentarily and then gone.
I played about with watercolours letting them run together Marbled effect different in every pane I like the way the colours run into each other. But are the colours too strong yes!!! Not peacful. I’m junoing backwards looking at them
Maybe if I combine these with the colours of the moonscape I coud create a backdrop to place the Big Bang onto...
MM8
What are the colours of the Moonscape?
M1 89/98/84
M2 189/200/185
M3 150/141/142
M4 255/255/255
M5 148/173/213
M6 40/72/123
M7 74/111/140
M8 101/133/178
Colours from the wisps around the moon I also want a dark blue/navy instead of black...
Taking elements of MM8 to create the backdrop....
I changed the colours selecting from the moonscape palette
And then redrew to break the boundaries as a square makes the pattern too regular and it doesn’t match my aesthetic.
Backdrop Celestial Sky pattern..
I love this. It is completely my aesthetic. The movement, the swirls...
I need five variations, one for each drape and I think it needs a lift with some other colours.
The colours of light and the halflight
Light Kitchen window Tatton Hall, Cheshire, June 2019
I need colours that are derived from Light and the Halflight but which are also very subtle - an off-shade of white
Halflight Winter Sunset Over Cleeves factory, Limerick, 2019
Colour Palette for Installation
Dia 89/98/84
Elara 189/200/185
Adratea 150/141/142
Carpo 255/255/255
Heiike 148/173/213
Kore 40/72/123
Ganymede 74/111/140
Io 101/133/178
Leda 254/250/200
Thebe 213/251/250
Mneme 251/231/242
Named for the moons of Jupiter, part of a galaxy formed from the particles of the Big Bang
Final Engineered Print - Celestial Sky
Celestial Sky Engineered Prints
A series of five individual backdrops 140cm wide by 4 metres high Engineered print to be positioned centrally with starting 1 metre from the top
Celestial Sky Patterns
Another combination of MM6/MM7 and recoloured watercolour In general I prefer large scale engineered prints to a repeating pattern I find that regular repeats, full drop, half drop etc. are constraining
Celestial Sky patterns with repeats
Celestial Sky Engineerd Prints In general I would prefer to scale a print up/down depending on the size of the items being made. I plan to prepare a series of colour ways of this Celestial Sky pattern. I will then create a video video in Premier Pro, which shows the layers of the pattern building up. This video will be projected as part of the final installation - sound track Hubble sonification of space - I’m a particle out there, drifting in the universe...
Celestial Sky patterns scaled to the size of the projection screen 1920 x 1080 There are no repeats. It generates a feeling of randomness. Watching the video is like lying on your back looking up to the sky With the clouds and the heavens forming and reforming The video has a sound track of the Hubble Sonification of Space which helps with creating the atmosphere I want for this installation. It is an eery, meditative sound created by scanning the Hubble photo and playing notes based on the stars and planets encountered as the scan progresses across the image.
More Textile Development Exploration - Felting
Tie selection of marbles into knitted yarn, using white cotton to hold tightly in place.
I love this photo - I could lose myself in it
Felting swatches Discovered that even yarn categorised as same NM can felt at different rates!
1. 60 degrees/59mins/Powder/Spin too thick 2. 40 degrees/44 mins/Powder/Towel/Sp too thin 3. 40 degrees/44 mins/Powder/Towel/Sp Yes
First swatches - I’m happy with the randomness. It just did what it did . There is a lunar surface. But it somehow seems ‘less’ than the pre felted version. Just not beautiful in the same way. I’ll try wavy edges and crochet embellishments
Thery are heavy and clunky. I’m just not getting the feeling of light, translucent, shimmering I’ll have to try finer yarn, transparent yarn. They just don’t work :(
Boston, USA, August 2019
Seaport x2
I visited my husband’s sister in Boston last summer. I’m fascinated by windows. All the different shapes and sizes, seeing something through a pane of glass. It’s there, I can see it but i cant’t quite reach it. It’s illusive. The panes highlight different aspects of the building. I love the straight lines and patterns. Windows for me are a metaphor for ‘seeing’
Seaport Boston, Institute of Contemporary Art ‘Less is a Bore’ 2019
Day and Night, Jennifer Bartlett
This reminds me of the skyscraper windows around Seaport and the Prudential Tower. Reflections, grids, mosaics, marbling
Bauhaus Textiles...
Black, White, Yellow - Annie Albers
Calls to mind skyscrapers lit up at night. The underpattern of the building and then different windows lit-up or not
Mark making in pastel and pencil - inspired by Prudential Tower
It’s there but I can’t quite reach it
Transpose into black and white from the colours of day to the colours of night
Looking upwards through the roof of the Prudential Tower I love the straight lines and the pattern captured in the frame
It seems different viewed through the panes highlights different things...
Lace/fairisle
The different shades of grey, black and white almost make the pattern feel 3D
MM7
Mark making in ink - inspired by Prudential Tower
Each pane has a mini view
The yellow is light The black lines of buildings Look to take window shapes and bring together in Shima pattern Looking up Straight lines and the architecture and the light
MM8
Picking out the patterns...
Look to take various different combinations of window shapes and bring into Shima pattern. Areas of uniformity. Combine a number of patterns together to create a skyscraper backdrop...
Seaport Pattern for Shima
LizAnn Doyle 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21
A B C D E
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L M N O P Q R S
T U V W X Y Z AA AB AC AD
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Designed in Excel. 2 building blocks Pattern A 16 x 10 Pattern B 20 x 14 No more than 5 stitches of same yarn in a row
10 11 12 13 14 15 16
12 13 14
Pa�ern A
5 repeats of A/B ver�cal 80 s�tches 120 rows
Pa�ern B
I like this because it is a grid, but it’s not too obvious. It recalls the random lit-up pattern of the skyscrapper windows
Swatching Process
Need to get the lightness and transparency of the windows. So using two strands of transparent Ecru Polymer. Initial swatches 80 x 114 and contrast yarn a yellow linen mix.
It’s so soft, beautiful to touch
Stitch Detail
Larger Swatches
white is best...
I think the poly poles complement the look. They are 1cm in diameter I also like the way the fabric curves at the edges creating a vacant gap, through which to see. It just does what it does. And then of course the individual panes are transparent so you can also see through them. I can work with it...
Swatching Process - Issues, Resolutions and FInal Outcome Issue 1: Border - for inserting transparent poly rod too wide and closed at ends so have to cut to insert rod Half rows per side to 4 (from 8). Start in waste, move into tubular rib and finish with tubular rib Issue 2: Too much waste - get caught in linker when linking off Reduce to 6 rows Issue 3: Too small Increase to 216 needles and 342 rows
Knit Instructions:
Measurement (Main Pattern)
Feeders 2 3 4 6
Main (Brittany Cotton) Waste Transparency x 2 ends Main - for tubular rib
216 needles, 342 rows
Tension
5 - 28 12-24 13-24 14-26 17-28
Measurement Border Tubular rib (top/bottom) 4 rows back and front Fairisle Float Pattern: Seaport Disk: LizAnn File name: Sport
Speed 70 Knit time 16.22 mins
Brittany Cotton
Shade: White Yarn weight 2 ply Materials: 100% Cotton Quantity: 2 x 400g Supplier: Yeoman Yarns https://yeoman-yarns.co.uk
101 Transparent Effects Lurex Shade: Yarn weight Materials: Quantity Supplier: https://wools.co.uk
Ecru Transparent 200 65Nm 100% Polyester 6 x 30g Uppingham Yarns
Price:
55.18 (euro)
Finished Piece - Windows of The Mind...
Stitch detail
The Change Process - Yarn to Plaster Form.. I want to see if I can create a lunar type material from felted lunar textures. I want the materials to just ‘do what they do’ because thats life - form and reform
Start by making felted shibori bag as mould
I just love this picture
The Change Process - Yarn to Plaster Form.. Prepare plaster and pour into mould
The plaster ran through the bag, but stoppped after a minute or two. I tried sealing with vaseline and pva in particular the bumps where most liquid escaped. Combination of the two best.
Just beautiful to me. Droplets caught in limbo Tears waiting to drop
The Change Process - Yarn to Plaster Form.. Form 1 - Solid Form
Plaster
I really like these form. They have a lunar look or the top of a head. It’s interesting the way the felt stuck to them. It provides a link from the original felt form (soft) through to the hard plaster.
I also like the fissure along the top. This is formed from the seam. It reflects life. The crack that happens when you lose someone can’t be mended. It is a kind of beauty as it shows how much they meant to you. They left an impression...
The Change Process - Yarn to Plaster Form.. Form 2 - Hollow Form
Jesmonite
ParaďŹƒn Wax
I was then ready to make hollow form. I secured the mould using the registration marks and tree cable ties. I prepared jesmonite solution and swilled it around the inside of the form to create a skin but not fill it . I did the same wth melted wax
I like that I now have a hollow version of the original form And it has the look of linar rock It’s a vessel as well. A holy thing. A chalice I could use a wax mould with a battery tea light in installation There
is something about the process itself that is inspiring. Taking the yarn as the starting point, I can create a fabric mould and then a solid form in plaster. Then taking that form, I can create a silicon mould, coat it with wax or jesmonite and and create a hollow, holy vessel....
The Change Process - Solid Form to Hollow Form... Silicon Mould
I created a 2-part silicon mould by shaping clay around half the form, line marked with pencil. Put on rolled out clay and fill gaps below half way line. Build wall to contain silicon I made registration marks so that I could ‘lock’ each half of the mould together when complete. Mix silicon with base and accelerant and allow to thicken
I filled the clay form with silicon, pushing into any gaps with a spatula. Watch top to make sure silicon doesn’t slide down, leaving top exposed - because won’t last long if this is the case Leave for 24 hours Take clay away. Put plaster bandage on outside of mould. Cross hatch
I then repeated the process for the second half - the exposed side of the plaster form - covering the registration marks with silicon. I sprayed them first with release agent. When everything was dry I removed the plaster form. solid.
Hollow Form...
Placed on mrror - and then I captured the sky... The lines of reality are blurred. The sky is reflected but it’s like the holy vessels have been transported into it...
The lunar type texture reminds me of matter formed in the Big Bang The golden light recalls The Clothes of Heaven And candles are of memories.
With tealight inside...
Golden Light....
A little more poignant as I used as part of #Light Your Light to commemorate Covid 19 casualties and salute the community effort to sav
A Winter Evening in Limerick
MM9
Twilight, the half-light from my balcony window in Limerick. The same sunset as reflected in the windows of Cleeves factory, which is just next door, but this is a different time of year -winter. It really looks like a fire. It’s there but not accesible directly. On fire - I’m thinking of Autralian bush fires. Horrible and spectacular. What tension The tree branches create a mosaic. The sense of something being just beyond reach TRace out a mosaic using using trunks and twigs - a pattern option?
Mosaics I like the idea of taking one of the shapes defined by the tree and simplifying. It needs to be a flowing shape, on top of a window pane. Like the sunset caught in Cleeves Fatory Windows It represents capturing the light of the half light
MM10 I am also drawing on the summer sunset on the windows of Cleeves Factory I sketched out to get a feeling of flow. I printed out and pasted them together I like the feeling of movement I get from them I parked for a while but now this design seems appropriate for prayer mats. The colours are too strong but I like their graphicness. Try in final colour palette...
Graphic Sun Pattern Drawings
Kore 40/72/123
Helike 148/173/213
Ganymede 74/111/140
Io 101/133/178
Dia 89/98/84
Adrastea 150/141/142
Elara 189/200/185
Carpo 255/255/255
Leda 254/250/200
Thebe 213/251/250
Mneme 251/231/242
Panels in blue, following same format as MM10 and using Moonscape colour palette
Tapestry Work
I’ve always loved Sonia Delaunay’s work. I like the movement and the colours
Sonia Delaunay
Spotted in a magazine. I like the irregular nature of the mats and the ‘random pattern
I want to create mats that will allow people sit within the space I have created and just ‘be’. Prayer mats... I also like idea that the making of these mats is by hand, a complete contrast to the digital prints of the backdop and the Shima produced ‘Windows of the Mind’. Try Sorbello stitch The mat measurements are based on birthday of my husband and I (21st and 29th) - 21 inches / 52 cm and 29 inches / 72cm
Cloths of Heaven
Shima Machine Knit Measurement (Main Pattern) 228 needles, 150 Border None Pattern: None Disk: LizAnn File name: Mat Birdseye 4 strands Knit Instructions Feeders 2 3 4 6
1 end wool 1 end wool 1 end wool 1 end wool
Tension Economiser Speed 70
5 @ 40 1@2 Knit time 35 mins
Felting 1x40 degrees 55 mins 1x40 degrees 70 mins Construction
Cut felt to measurement Place three layers together Cut to pattern with rotary cutter Mix colours to create 3 two-tone rugs Join own seam using Sorbello stitch
Inventory & Pricing 1. Celestial Sky Drapes Number: Pattern:
Process: Materials: Equipment: Measurements Supplier:
Total Cost: Cost - Single Drape
5 Engineered Print BD S1 BD S2 BD S3 BD S4 BD 55 Photoshop Digital Print Sherlock - 100% Polyester Curtain Rods Racka Drapes Curtain Rods (5) Fashion Formula RS Components Ltd. Ikea € 466 € 82
140cm x 400cm 140cm www.fashion-formula.com https://ie.rsonline.com Drapes 412 / Rails 55
PRICE Celestial Sky Cost +Overheads/Salary x2 Price
€ 466 € 466 € 932
Single Drape Cost +Overheads/Salary x2 Price Price Point
2. Windows of the Mind Drapes Number: Pattern Process: Materials: VIdeo Number Pattern Sound Process:
5 Seaport Shima Transparent Ecru Polymide 120g Brittany Cotton 2-ply 600g 1 Celestial Sky CS CW1 - CW8 Hubble Sonification of Space Photoshop/Premier Pro
Equipment
Projector/ HDMI cable Mac Mad Mapper Software Mirror Frame for Mirror Lino - to merge mirror with floor Rod - Polycarbonate (10)
Measurements
Drapes Rods Mirror Frame Mirror Sides
80cm x 130cm 100cm, 1cm diametre 180cm x 160cm 180cm x 160cm x 10cm 160cm x 10cm 180cm x 10cm
€ 82 € 82 €164 €175
Inventory & Pricing 2. Windows of the Mind (continued) Supplier
Uppingham yarns Yeoman yarns RS Components Ltd. Duggan Glass
https://wools.co.uk https://yeoman-yarns.co.uk https://ie.rsonline.com https://dugganglass.com
Total Cost: Cost - Single Drape
€ 400 € 23
Yarn € 70 / Rods € 45 / Mirror € 160 /Video €140 1.5 metres
PRICE Windows of the Mind Cost € 415 +Overheads/Salary x2 € 415 Price € 830
Single Drape Cost +Overheads/Salary x2 Price Pricepoint
€ € € €
23 23 46 50
3. Heavens’ Cloth Number: Materials:
3 Lambswool 3ply 1600g Embroidery Thread Pattern: Graphic Sun Process: Felted, Piecework, Sorbello Stitch Equipment: Not Applicable Measurements: 52cm x 72cm Supplier: Uppingham yarns https://wools.co.uk Hickeys Cost: Cost - 1 Mat
€ 120 € 40
Yarn € 110 / Embroidery Thread € 10
PRICE Heaven’s Cloth Cost +Overheads/Salary x2 Price
€ 120 € 120 € 240
Individual Mat Cost € 40 +Overheads/Salary x2 € 40 Price € 80
Video 10 hours @12.30 Overheads (software) Price
€123 € 12 €140
Inventory & Pricing 4. Golden Light Number: Materials: Process: Equipment:
7 Paraffin Wax 300g Casting Tealights - battery operated Mini Plinth Mirror Measurements: Wax form 10cm x 10 cm x 15cm at max points Plinth 20cm x 20cm x 20cm Mirror 20cm x 20cm Supplier: Glass and Mirrors https://glassandmirrors.ie Supplies for candles https://supplliesforcandles.co.uk Cost: Cost - Single
€ 56 € 8
Paraffin Wax € 5 / Tealights € 7 / Mirrors €44
PRICE Golden Light Cost +Overheads/Salary x2 Price
€ 55 € 55 € 110
Individual Form Cost +Overheads/Salary x2 Price Price Point
€ 8 € 8 € 16 € 20
Setup - Floor Plans Screen 120 x 120 Window 1
Window 2
Window 3
Window 4
76cm
Sink Height 94
82cm
Cupboards
60cm
Scale 1:20
Installation Zone
Projection Wall
180cm 160cm
450cm
180cm
Room Height 288
Height floor to ceiling 288cm 49cm
60cm 375cm
375
Pillar
20cm
0cm 420cm x 28
30
375cm
38 cm
Cupboard Height 200cm (to ceiling 74cm)
Enquiry Zone 150cm
Door
Screen 220cm x 120cm Screen 120cm x 120cm
Height floor to screen 114cm
GF40 LSAD L1 420cm x 280cm
60cm
180cm
W1 180cm
160cm
60cm Installation Layout
Setup - Enquiry Zone The idea of an Enquiry Zone is to give the opportunity for the viewer to engage in the wonder of the process itself - the metaporphosis of materials from fabric mould to solid form in plaster to a wax or jesmonite vessel.... Document Casting Process on boards starting with felt mould and ending with wax form. Print A1, landscape with GBM Limerick www.gbmlimerick.com and hang on walls of GF40
Place selection of plaster forms and wax shapes on plinth as separate piece ‘Metamorphosis’
Setup - Enquiry Zone I also want to be able to display a) swatches of materials used in the installation b) the celestial light patterns printed on a range of fabrics Place pattern sample books (A3) with fabric swatches on coffee table and attach battery operated clip lights Swatches for interiors and homewares Co tt o n
Linen
C o tt o n /P o l y Kn i t
Vo i l e
Upholstery
Wa l l p a p e r
NOTES 1.
Enquiry Zone situated beside installation
2.
All set-up details are specific to GF40, Limerick School of Art and Design and are based on the room layout, fixtures and fittings and available equipment (screens, projector, c upboards etc.)
3.
The orientation of the installation is set to hide ‘noise’ such as cupboards and sink and to allow projector be used from existing location, although it needs to be rotated 180 degrees
4.
Sign posting from Church Gallery to GF40 will be required
Living With Loss... Bringing together all four components into one space I have created a space where I hope people can just ‘be’....
2
1
3 4
5. Living with Loss - Installation Price 1. Celestial Sky
€ 932
2. Windows of the Mind
€ 830
3. Heaven’s Cloth
€ 240
4. Golden LIght
€ 110
Total
€2,112
PRICE POINT
€2,000