Final Critique and Improvements

The final critique of this project contained a mixture of praise and constructive criticism, leaving me with lots of elements that I can improve on for the final deadline. Firstly, the tutor was impressed by the progress of my work from my last project and loved the way that I had considered the way my illustrations fit within space. My intension at the beginning of this project was to develop my use of colour and create a pallet away from blacks and whites. This was also something which was positive feedback as I have found a way to incorporate colour through compositions of different fabrics and patterns.

The main issues which my final outcome faced was that the tepee as a structure is something of greater significance within the current political position of America. The tepee is a symbol of native American culture, but could also be a metaphor for the controversial immigration bans. America is a nation of immigrants, and therefore it seems hypocritical to ban further immigrants from entering the country. The result of such laws could produce more homelessness and refugees, and therefore my tepee could be representative of shelter and belongingness. My understanding of politics is rather basic and therefore I do need to closely consider how my work can fit into visual culture and become more powerful than a reflection of screen technologies.

There is also an imbalance in the making side of the tepee and the illustrations, this was due to the time taken to cut and sew the calico panels. My tutor commented on the fact that I had made all the sections by hand, but the images inside need to be increased in quantity so as to surround the viewers in the work rather than just showcase them at eyelevel. The imagery would be more successful if it was displayed in a patchwork format, fully immersing the viewer into a different world. This was the vision that I had when starting the project, however as this was such a tight deadline I didn’t complete as many illustrations as I had originally hoped for. Therefore, over the Easter break, I have already planned to double the amount of images inside the tepee, and to add beading and other forms of decoration to transform the outcome into an exhibition standard piece.

Furthermore, I felt that my research had let me down as I hadn’t considered artists using the same type of shelters to display a concept, for example Everyone I Have Ever Slept With 1963-1995 by Tracey Emin. Also there was mention of the Glastonbury: Land and Legend exhibition at the V&A and Entangled: Threads & Making at the Turner Contemporary. These are key research exhibitions which I need to visit before continuing with this journey. The Entangled exhibition may also develop my understanding of textiles as a medium and the boundaries which can be pushed to communicate my ideas.

Please find below images of my outcome at this stage.

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