Exploratory Project Crit Group PresentationSlides:Part 1: Books & objects Book - dipping, pages, closed
Part 2: paper collages for painted works
the need for painting - the feeling
Part 3: Structure
Paper structures - the upcoming experiments
paused due to material sourcing (laser cutter and acrylic)
Part 4: Stitched/Strung
Stitched pieces - the fabric experiments
Part 5: Text
Questions:
Scale - go big or go even smaller? Thinking chapman brothers mini scenes, minutiae, pulling the viewer in, OR larger scale, overwhelm, frustration, confusion.
These pieces feel linked, is there space for a performance piece? - would need a movement class, have a possible collab.
Responses:
How much engagement does the audience needs to have with the work?Touch them, and open them, etcHow do I want my audience/ how do people interact-expectations, Focus groups. Create a experience or being excessive-Inclusion of audiences/children etcDo they need to come together or exists separately?Separate-Individually paper collages– AmazingMovement– Gymnast/contortionist trying to getMinor chaos-the strings and the different intentionAre so the work as installation stringpiece and losing contortionist or gymnast or and using contortionists for gymnasts to move around the piece as performance all allowing audience to move around as personal performance.Audience through the work so do they make you work? Laser cut pieces for installation? Large-scale-room and Intel-Keep Separate works through of Videos.
I moved on to cutting these forms out and playing with the idea of layered collages to build up density that can be moved. The collages are not fixed and therefore have boundless configurations adding an element of temporary chaos to their organisation. A small breeze would change them, an event that's tiny causing a larger repercussion.
While dropping the pieces they began to entangle and build up into these half-collapsed forms. allowing for the consideration of 3D to leap off the page. 
I moved forward by looking into the thickness of the line, the thinner the line, the more fragile the piece appears.
These pieces were created using a 1inch paint pen. The paper started to bend and curve with the ink. The structures are less intricate but have far more of a density to them, a presence.
Transfering these ideas back to stitch, I used card and the recommended influence of Fred Sandback to explore moving the lines into an installation. I created some maquettes. One has a base and a ceiling, the threads would be suspended from both, creating a web of vertical lines to walk in and out of. 
The second was purely of suspension. Inspired by Hassan Sharifs hanging pieces that were seen at his retrospective, the thread would come down from the ceiling and amass on the floor, making it difficult to walk through the space.
In creating the piece and laying it down for photgraphy I was actually very drawn to it as a piece in its own right. The chaotic hanging threads shielding the geometric stitch design behind them.
I went on to revisit the white piece and play with how that could become a small piece in its own right too. This was more of a struggle and moves back to the book work so I will look at how I can link the two.
As I was determined to at least try the 3D work I used modelling straws (from my teaching kit!) to tape up some simplified designs I created in Adobe Illustrator. They proved to be very poor quality and frustrating so rather than waste time with them I moved forward.
Lastly, I cut a piece from card, it is 50cm x 50cm and a laborious task. The issue once it was complete was that it was still a flat piece. Multiple pieces would have to be cut and slotted together but this didn't feel like the right route to go down.
After this, I decided to forgo the laser cutter as this would have given more flat pieces. and I put the 3D work on hold for this project. I would like to investigate the ways sculpture can be subversive and involve the viewer in touch by creating something that looked hard and metallic but was actually plush and soft.