FMP: April 2012

Sunday 29 April 2012

photopraphy and editor analysis...

Thursday 19 April 2012

email, question replies and imagery documentation for sketch book on going...

Emesha

Ada Zanditon

Goodone

Dr Noki

Sean Avery

Shane McAdams

Tereshina Roberts

Wednesday 18 April 2012

Sunday 15 April 2012

Generic email to show in sketchbook...

Thursday 12 April 2012

Make peice question replies...

Hello Beate,

Thankyou for replying to my email, if possible could you answer these questions for my feature please.

What made you interested into sustainability?

I worked for Amnesty International in the 1990s and spent a lot of time thinking about the rights of people to raise their working conditions. I was concerned about what I read about conditions in the garment industry and that was one of the triggers for thinking about how clothes could be made without having a negative impact on the people and places involved in their making.

How did you start Makepiece?

Initially I bought six Shetland sheep and then started thinking about what you could do with the fleece. Farmers were complaining that it wasn't worth shearing as the wool price was so low and I wondered whether there were ways to add value. Of course, I found out that it's not that easy to add value! I was lucky to meet Nicola very early on - she was brilliant at thinking how to make knits that are unusual and beautiful right from the start, and this is what made the idea of using our own wool viable.

How do you make sure your farming is sustainable?

I try to keep the inputs really low - grass feeding in summer. using our own hay to over winter the sheep with not too much additional feed (as that has more road miles etc) and control pests by rotating grazing strictly. Shetland sheep are also recognised as conservation sheep that have a lower impact on land in general.

What is your companies philosophy?

To make beautiful things with as low an impact as possible

More magazine analysis...

Wednesday 11 April 2012

Question reply with Shane McAdams...

Sophie,

Sorry for the delay. Let me know that these work.

Text below.

I grew up in the Southwestern U.S. and was visually taken by the sculpted topography as a kid – how the layered strata of the rock formations came to be exposed by erosion from wind and water, and the incremental and chaotic effects of time and climate could conspire to create something more orderly than I could with my own hands.

Though flirting with both representation and abstraction, my work is concerned primarily with how society interprets the idea of landscape. Over the years, landscape painting has leaned on conventions and formulas to represent 'nature.' I always thought that these formulas undermined the idea of the real natural, and bet that something more fundamental could be captured with forces that directly shape the nature we walk in: wind, gravity, time, heat, etc.. Thus I saw my process-based abstract work as being more 'natural' than, say, a painting of the Grand Canyon or Niagara Falls.

The forms in my work are analogs or traces of the methods of their creation. They take root in the physical properties inherent within specific, mundane materials such as PVA glue, correction fluid, ballpoint pen ink and resin, whose limits are stretched by subjecting them to non-traditional applications. The complexity of the forms created from these processes belies the simplicity of their creation. This is by choice processes reflect the physical forces that are constantly working to fashion and sculpt the natural landscape, and, by bracketing them with hand-rendered, ‘traditional’ images of landscape, I hope to evoke the duality between the actual and the artificial and force the viewer to question notions of what we consider organic and what is synthetic.

ARTIST STATEMENT

My work is about landscape in the broadest sense of the term. I grew up with the desert southwest as a backdrop and was visually taken by its sculpted topography – how the layered strata of the rock formations came to be exposed by erosion from wind and water, and the incremental and chaotic effects of time and climate could conspire to create something more orderly than I could with my own hands.

Since, my art has resumed a focus on landscape, reflecting the dueling relationships between natural and synthetic forms. These forms are often analogs or traces of the methods of their creation. They take root in the physical properties inherent within specific, mundane materials such as PVA glue, correction fluid, ballpoint pen ink and resin, whose limits are stretched by subjecting them to non-traditional applications, generating structures whose complexity belies the simplicity of their creation. These processes reflect the physical forces that are constantly working to fashion and sculpt the natural landscape, and, by bracketing them with hand-rendered, ‘traditional’ images of landscape, I hope to evoke the duality between the actual and the artificial and force the viewer to question notions of what we consider organic and what is synthetic.