MM Part Two Research

MM Part Two Research

Again, I have put my research into a sketchbook. This allows me to keep the physical elements such as the photographs and articles I found on each artist with the work that it relates too but also this research is easily accessible should I require it in the future.

However below are my thoughts on each of the recommended names and also so others I stumbled across along the way.


Pippa Andrews

Takes standard textile items such as quilts and forms them from non-standard materials. For example the Standard Quilt is made from paper beads made using torn strips of the Evening Standard.

Andrews has a good background in art and craft techniques and states, quite rightly in my opinion, that this knowledge allows her to come up with an idea for a piece and have many possible techniques at her disposal in order to make the item as she envisages it. This also allows several methods or techniques to be combined together such as wrapped and stitched vessels or weaving worked over wire frames.

Recycled and repurposed materials feature in this work alongside much hand piecing and stitching. Working with fabric in this way Andrews shows a good understanding of each material.


Barbara Cotterell

Barbara Cotterell works with recycled and repurposed materials, often attempting to make them in to structures with fabric like qualities. She focuses on materials that are easily accessible and can often be found around the house or as scrap. This is an idea I would like to aspire to, as Paul Smith noted “Inspiration is everywhere”, this also seems to be reiterated by Cotterell  as she often tries not to buy any new materials.

Much of Cotterells work is made up of many small, repeating, units put together to make a large work. She also claims that even though the finished product may look neat it is in fact “wonderfully untidy”. I find this refreshing in an age of smooth lines and gloss white surfaces, that this multitude of small imperfections reminds us that this work is in fact put together by a person and not a machine in a clean room of a factory.

One memorable quote I came across was “Making progress and moving on is dependent on doing stuff and showing people.” This ties in nicely with the advice in Austin Kleons book “Steal like an Artist” which, while not listed directly, advocates ‘Just doing’  in order to improve the quality of work produced over time.



Jane Neal

While looking for information on Barbara Cotterell, above, I came across the work of Jane Neal. There isn’t a great deal about her as she doesn’t have her own website or social media but she is a member of Material Space and has been interviewed on

Neal is another artist that works with recycled or repurposed material, paying no attention to its original use and only considering if the fabric or item is suitable for the piece she is trying to create.

She focuses on marks, their meaning and the quality of each as they are made. Also researching ancient patterns and texts and how these have been used to convey meaning between people. It is also the relationships between people that she hopes to document through her work.

I was most struck by a large hanging formed from many small, possibly playing card sized, pieces of paper. Each was punched with a pattern and had been secured to other cards to form a large, pieced, hanging. This was then hung in front of a window. Some light filtering through the paper itself but streaming through the punched holes to make the pattern visible. This use of repeating units and controlling where light is visible shows much consideration for the materials used and how they have been placed together to make a large whole from a number of smaller items.

Andy Goldsworthy

Goldsworthy produces site specific installations, mostly in the outdoors, formed from locally sourced materials and found objects.

These installations may be specific to an area but they are all designed to decay and transform over time. Often melting, blowing away or being swept downstream. Creation of the piece may take days as the correct materials must first be found and then arranged or placed in the designated area.

While the original work may be transient it is also well documented through photographs and videos. These then form a new body of work and can be displayed in its own right.

This is a very different approach to working.  Most art is made to withstand time, this work is made to rot and decay and eventually leave no trace.


Judith Scott

Scott created fibre sculptures by wrapping objects, or collections of objects with yarn, fabric and string. Whatever Scott found to hand was combined together, often disparate items found themselves bound together such as chairs and bike wheels.

The items are not always completely covered, often some part remain visible of the original item.

These are interesting as only the maker would know exactly what was underneath all the wrapping. Do the items wrapped have any significance or are they truly random? Also the wrapping itself could be used to exaggerate the contours of the items used or to conceal them completely.

I like the apparently random selection of materials used to wrap each set of items. There appears to be no adhesion to colour theory and the maker has just used instinct, or whatever is closest to wrap the objects.


Jason Taylor

Another stumbled across name. While visiting the OCA MA show in Barnsley I picked up a card for the next exhibition that was to follow the OCA one. In it Jason Taylor was exhibiting his most recent items of homewares.

These are often formed from other household items, appropriated and joined together to make new items. Some examples are lampshades made of folded can lids and lamps made of cheese graters.

These have to be joined quite permanently together as they are now functioning items. This is in direct contrast to some of the artists above where impermanence is the cornerstone of their work.

This is another example of recycling of materials.


Christo and Jeanne Claude

Highlights of Christo and Jeanne Claudes work is the wrapping of large objects in very public places such as the Reichstag in Berlin and a park full of trees in Switzerland.

They use fabric to wrap these objects as fabric will flow over a depression in an object or get caught on a protrusion, distorting the shape of the object that we are expecting to see, but giving us just enough details to recognise the item that has been covered.

The wrapping of the item is not the conclusion of a project. The dates noted for each work are from the initial idea to the return of the site to its original state. Also all of the sketches, contracts, photographs and other documentation produced is kept and formed the lasting record of each of these projects.


Karola Pezarro

Pezarros’ work is often formed of small repeating units, combined together over a large area. These items are often not physically joined together but could be considered joined by their similarity to each other, such as “a bord de l’eau”.

Pezarro looks very closely at her subjects, often taking many photos and reviewing them to consider very small details, giving a new view to each subject. She also draw a lot to provide new ideas for her work.


I have tried to find examples of wrapping or joining from each of the artists above. I have also noticed some similarities between them in their use of locally sourced or found objects, recycling of materials and the selection of materials based only on their usefulness in the project in which they are being used and not their original or intended purpose.

In my sketchbook I have also documented some ‘real-world’ examples of wrapping and joining. These are not usually for artistic purposes but more for necessity, accidental or have other meaning attached to them.


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