Critical Reflection
Unit 1: Locating Practice within Subject
Note: This Critical Reflection serves as an overarching summary of my research within Unit 1. Before delving into this reflection, it is essential to first engage with the documentation of the
Current Practice. Doing so will provide the necessary context and foundation for a deeper understanding of hte insights and conclusion presented here.
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Fig1: Shenece Oretha -Conspiracy: After Jeanne Lee, 2021. Speaker bodies, speaker stands, sound and spotlight. Installation View. Dimension variable.
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Fig2: Igshaan Adams - GETUIE (witness) v, 2021. Metal, rubber and glass beads, metal charms (horns), metal wire and chain, resin. 53.3 x 65.4 x 59.7 cm. Gallery view.
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Fig3: Stuart Middleton - Untitled, 2023, Sculpture. Bridal remnants, stones. Dimensions variable. Carlos/Ishikawa Gallery. Installation view.
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Fig4: Jeffrey Gibson - The Space in Which to Place Me, 2024. US
Pavilion, 60th Venice Biennale, Italy. Ceramic, glass beads, nylon fringe, canvas, cooed-rolled mild steel, steel plate. 274.3 x 106.7 x 106. 7 cm
;)
Fig5: Aziza Kadyri - Don’t Miss The Cue, 2024. Uzbekistan Pavilion,
60th Venice Biennale, Italy. Installation view. Dimensions variable.
Introduction
In my research, I was interested in examining materials historically denigrated as craft and contemporarily
viewed as waste, such as single-use discarded vapes collected during my drifts around London’s streets,
used herbal tea filters, and metaphorical remains of my own personal history, including personal objects,
textiles, and embroidery from my Mother’s house. My aim was to uncover their hidden meanings, histories
and narratives that extend beyond their originally intended use and margins.
According to Good-Bryant and Phillips (1978, pp. 39-41), remains – defined as the matter or substance left
over from a primary action with no particular purpose or function – carry a constant meaning and reality
throughout their contextual incorporation. In my research, I explored the transient and spiritual properties
of these remains to investigate hybrid identity, the fragile impermanence and musicality of human
experience, and moments of transformative interactions.
I worked with different types of material experiments, all connected to exploration of remains within the
context of migration and intersectional diasporic identity, however each with distinct subject matter,
materials, processes and contexts. By blending new technologies such as 3D modelling and digital
embroidery with craft processes like ceramics and hand embroidery, I created hybrid structures that
aimed to depict bodies in motion. These works embody a sense of transience and playfulness, engaging
in the interplay of memory and identity while capturing fleeting moments where time and space seems
fused together.
The Music Is You
To address global environmental, economic, and geopolitical injustices linked to the 2024 UK
anti-immigration riots, I explored single-use vapes as material and subject. This project aimed to envision
alternative realities by recontextualising discarded vapes, offering new narratives and connections
through the fusion of varied research methodologies. Drawing on contemporary artists who use material
as metaphor, I investigated themes of migration, memory, resilience and musicality of spiritual and physical
existence through material narratives.
Key influences include Shenece Oretha (Fig1. Black-whole info, 2024), whose focus on communication
and ceremony inspired my interest in listening and celebration of communal resonance, and Igshaan
Adams (Fig2. Marill and Hunegs, 2022), whose materiality conveys images of bodies of bodies in motion.
I was interested in examining insubstantial and changeable forms that embody a sense of transience and
playfulness. Sian Fan’s talk expanded my understanding of the digital realm as a hybrid magical-scientific
space, while Stuart Middleton’s work with discarded items, such as wedding dress remnants (Fig3),
informed my exploration of materials as vessels of memory, meaning and reimagined purpose.
Inspired by Hall’s idea of translation as hopeful movement (Hall, 2017), I created hybrid structures from
vape remains using jewellery making, 3D printing and digital sculpting techniques collaborating with
materials. I explored their transformative potential, overcoming challenges by basic engineering
prototypes that unite components. Feedback highlighted the need for greater spatial dynamism or motion,
and opportunities for future work to address vaping’s environmental impact, such as air pollution.
Traces of Passage
Ward (2014) definition of recalling episodic memories as a ‘mental time travel’ where time and space
interconnect inspired my experiments with herbal tea filter remains. Additionally, Keller and Stevenson
(2014), concept of odours as uniquely powerful in evoking emotions, while being unanchored to a specific
space, informed my exploration of impermanence and presence in absence through my material
experiments. Through this, I found a metaphor for migration – how trauma shapes identities while
preserving potential for transformation and hope. The filters became embodiments of memory, resilience
and renewal.
Stevenson (1999) idea of adapting ancient concepts to modern contexts, like the world-wide web echoing
Anglo-Saxon beliefs in thread connecting all things in time and space, inspired my use of threads and
needlework as symbols of life’s fabric, linking body and soul.
During development a challenge arose in exploring colours, as it introduced unintended connotation
resembling chessboards or medieval flags. Instead, I focused on texture and patterns to shape landscapes,
keeping colour separate and exploring spatial interactions between them. Feedback from audience
reactions, such as gazing upwards beyond the gallery’s physical constraint, highlighted an expansive o
utward dimension. This suggests future works could explore this otherworldly perspective further, building
on themes of transformation, connection and the interplay of memory and presence.
Woven in Blood and Earth
Building on Good Bryant and Phillips (1978) idea of examining remains to uncover meanings beyond their
original contexts, I explored my mother’s Kalocsa embroidery as a metaphor for personal and
transgenerational heritage. Investigating its history revealed Hofner and Fel (1979) view of embroidery as a
working-class generational exchange. Further, Szalavary (1980) notion of its continuous evolution –
shaped by industrialisation, gentrification and cultural influence. For me, it represents safety and healing
amidst migration’s complexities; an enduring emotional tribute to resilience and heritage.
Key inspirations included Jeffrey Gibson (2024) Fig.4 use of materials often dismissed as ‘craft’ to
monumentalise traditions, and Kadyri (2024) Fig.5 blue partwork curtains recreating family memories.
My experiments with digital and hand embroidery honoured my grandmother’ legacy through symbolic
flower motifs, translating emotions into tactile narratives. I also discovered the evocative
‘punched memories’ left by removed threads, a potential for further explorations.
In ceramics, I reflected on transformation and resilience, using stoneware clay to explore how earthy
materials hold imprints and memory. Extending into digital realms, I created hybrid structures blending
embroidery designs, digital illustration and ceramics. These prototypes raised questions about memory,
impermanence, and identity, setting challenges for deeper exploration in Unit 2.
Conclusion
In Unit 1, I integrated interdisciplinary methods and materials, including consumer waste remnants,
personal objects and digital sculpting techniques, to explore hybrid identity, impermanence, and
transformative interactions. Combining 3D modelling and digital embroidery with ceramics and
hand-embroidery, I created hybrid structures embodying transience and playfulness, capturing moments
where time and space converge.
Influenced by Jeffrey Gibson, Ibrahim Mahama and Stuart Hall, my work reclaimed materials historically
dismissed as craft or waste to honour overlooked narratives. Rooted in migration and intersectional
diasporic identity, I examined material and metaphorical remnants, uncovering hidden meanings and
memories. My practice addresses racial stereotyping, cultural synchronisation and unification, offering a
visuospatial experience where personal and collective histories merge.
In Unit 2, I will deepen my focus on using remnants to create ‘bodies in motion’ celebrating their communal
resonance within spiritual and material existence. Building on themes on renewal, memory and resilience,
I aim to explore alternative dimensions, incorporating playfulness, moments of tribute and transience into
my research.
In my research, I was interested in examining materials historically denigrated as craft and contemporarily
viewed as waste, such as single-use discarded vapes collected during my drifts around London’s streets,
used herbal tea filters, and metaphorical remains of my own personal history, including personal objects,
textiles, and embroidery from my Mother’s house. My aim was to uncover their hidden meanings, histories
and narratives that extend beyond their originally intended use and margins.
According to Good-Bryant and Phillips (1978, pp. 39-41), remains – defined as the matter or substance left
over from a primary action with no particular purpose or function – carry a constant meaning and reality
throughout their contextual incorporation. In my research, I explored the transient and spiritual properties
of these remains to investigate hybrid identity, the fragile impermanence and musicality of human
experience, and moments of transformative interactions.
I worked with different types of material experiments, all connected to exploration of remains within the
context of migration and intersectional diasporic identity, however each with distinct subject matter,
materials, processes and contexts. By blending new technologies such as 3D modelling and digital
embroidery with craft processes like ceramics and hand embroidery, I created hybrid structures that
aimed to depict bodies in motion. These works embody a sense of transience and playfulness, engaging
in the interplay of memory and identity while capturing fleeting moments where time and space seems
fused together.
The Music Is You
To address global environmental, economic, and geopolitical injustices linked to the 2024 UK
anti-immigration riots, I explored single-use vapes as material and subject. This project aimed to envision
alternative realities by recontextualising discarded vapes, offering new narratives and connections
through the fusion of varied research methodologies. Drawing on contemporary artists who use material
as metaphor, I investigated themes of migration, memory, resilience and musicality of spiritual and physical
existence through material narratives.
Key influences include Shenece Oretha (Fig1. Black-whole info, 2024), whose focus on communication
and ceremony inspired my interest in listening and celebration of communal resonance, and Igshaan
Adams (Fig2. Marill and Hunegs, 2022), whose materiality conveys images of bodies of bodies in motion.
I was interested in examining insubstantial and changeable forms that embody a sense of transience and
playfulness. Sian Fan’s talk expanded my understanding of the digital realm as a hybrid magical-scientific
space, while Stuart Middleton’s work with discarded items, such as wedding dress remnants (Fig3),
informed my exploration of materials as vessels of memory, meaning and reimagined purpose.
Inspired by Hall’s idea of translation as hopeful movement (Hall, 2017), I created hybrid structures from
vape remains using jewellery making, 3D printing and digital sculpting techniques collaborating with
materials. I explored their transformative potential, overcoming challenges by basic engineering
prototypes that unite components. Feedback highlighted the need for greater spatial dynamism or motion,
and opportunities for future work to address vaping’s environmental impact, such as air pollution.
Traces of Passage
Ward (2014) definition of recalling episodic memories as a ‘mental time travel’ where time and space
interconnect inspired my experiments with herbal tea filter remains. Additionally, Keller and Stevenson
(2014), concept of odours as uniquely powerful in evoking emotions, while being unanchored to a specific
space, informed my exploration of impermanence and presence in absence through my material
experiments. Through this, I found a metaphor for migration – how trauma shapes identities while
preserving potential for transformation and hope. The filters became embodiments of memory, resilience
and renewal.
Stevenson (1999) idea of adapting ancient concepts to modern contexts, like the world-wide web echoing
Anglo-Saxon beliefs in thread connecting all things in time and space, inspired my use of threads and
needlework as symbols of life’s fabric, linking body and soul.
During development a challenge arose in exploring colours, as it introduced unintended connotation
resembling chessboards or medieval flags. Instead, I focused on texture and patterns to shape landscapes,
keeping colour separate and exploring spatial interactions between them. Feedback from audience
reactions, such as gazing upwards beyond the gallery’s physical constraint, highlighted an expansive o
utward dimension. This suggests future works could explore this otherworldly perspective further, building
on themes of transformation, connection and the interplay of memory and presence.
Woven in Blood and Earth
Building on Good Bryant and Phillips (1978) idea of examining remains to uncover meanings beyond their
original contexts, I explored my mother’s Kalocsa embroidery as a metaphor for personal and
transgenerational heritage. Investigating its history revealed Hofner and Fel (1979) view of embroidery as a
working-class generational exchange. Further, Szalavary (1980) notion of its continuous evolution –
shaped by industrialisation, gentrification and cultural influence. For me, it represents safety and healing
amidst migration’s complexities; an enduring emotional tribute to resilience and heritage.
Key inspirations included Jeffrey Gibson (2024) Fig.4 use of materials often dismissed as ‘craft’ to
monumentalise traditions, and Kadyri (2024) Fig.5 blue partwork curtains recreating family memories.
My experiments with digital and hand embroidery honoured my grandmother’ legacy through symbolic
flower motifs, translating emotions into tactile narratives. I also discovered the evocative
‘punched memories’ left by removed threads, a potential for further explorations.
In ceramics, I reflected on transformation and resilience, using stoneware clay to explore how earthy
materials hold imprints and memory. Extending into digital realms, I created hybrid structures blending
embroidery designs, digital illustration and ceramics. These prototypes raised questions about memory,
impermanence, and identity, setting challenges for deeper exploration in Unit 2.
Conclusion
In Unit 1, I integrated interdisciplinary methods and materials, including consumer waste remnants,
personal objects and digital sculpting techniques, to explore hybrid identity, impermanence, and
transformative interactions. Combining 3D modelling and digital embroidery with ceramics and
hand-embroidery, I created hybrid structures embodying transience and playfulness, capturing moments
where time and space converge.
Influenced by Jeffrey Gibson, Ibrahim Mahama and Stuart Hall, my work reclaimed materials historically
dismissed as craft or waste to honour overlooked narratives. Rooted in migration and intersectional
diasporic identity, I examined material and metaphorical remnants, uncovering hidden meanings and
memories. My practice addresses racial stereotyping, cultural synchronisation and unification, offering a
visuospatial experience where personal and collective histories merge.
In Unit 2, I will deepen my focus on using remnants to create ‘bodies in motion’ celebrating their communal
resonance within spiritual and material existence. Building on themes on renewal, memory and resilience,
I aim to explore alternative dimensions, incorporating playfulness, moments of tribute and transience into
my research.
Bibliography
Black-whole info (2024) Conspiracy. Available at: https://black-whole.info/Conspiracy (Accessed: 29 October 2024).
Gibson, J. (2024) Jeffey Gibson: The Space in which to Place Me. Available at: https://www.jeffreygibsonvenice2024.org (Accessed: 19 October 2024).
Good-Bryant, L. and Philips, M. S. (1978) Contextures. New York: Just Above Midtown, Inc. pp. 39-41.
Hall, S. (2017) The Fateful Triangle. Race, Ethnicity, Nation. Edited by K. Mercer. London: Harvard University Press.
Hofner, T. and Fel, E. (1979) ‘Distinctive Features of Hungarian Folk Art’ Hungarian Folk Art. Oxford University Press. pp. 55-61.
Kadyri, A. (2024) Don’t Miss The Cue. Available at: https://www.azizakadyri.com/dont-miss-the-cue-uzbekistan-pavillion-venice-biennale1 (Accessed: 19 October 2024).
Keller, A. (2014) ‘The Scented Museum in The multisensory museum: Cross-disciplinary perspectives on touch, sound, smell, memory and space. Edited by Levant, N. and
Pascal-Leone, A. Lanham, Maryland: Rowman & Littlefield. pp. 167-175.
Marill, R and Hunegs, S. (eds.) (2022) Prime: Art’s Next Generation: Igshaan Adams. London: Phaidon Press Ltd.
Stevens, H.M. (1999) The myth and magic of embroidery. Newton Abbot: David & Charles. pp. 11-19.
Stevenson, J.R. (2014) ‘The Forgotten Sense’ in The multisensory museum: Cross-disciplinary perspectives on touch, sound, smell, memory and space. Edited by Levant, N.
and Pascal-Leone, A. Lanham, Maryland: Rowman & Littlefield. pp. 273-283.
Szalavary, A. (1980) Hungarian folk designs: for embroiderers and craftsmen. New York: Dover Publications Inc.
Ward, J. (2014) ’Multisensory Memories’ in The multisensory museum: Cross-disciplinary perspectives on touch, sound, smell, memory and space. Edited by Levant, N. and
Pascal-Leone, A. Lanham, Maryland: Rowman & Littlefield. pp. 151-163.
Gibson, J. (2024) Jeffey Gibson: The Space in which to Place Me. Available at: https://www.jeffreygibsonvenice2024.org (Accessed: 19 October 2024).
Good-Bryant, L. and Philips, M. S. (1978) Contextures. New York: Just Above Midtown, Inc. pp. 39-41.
Hall, S. (2017) The Fateful Triangle. Race, Ethnicity, Nation. Edited by K. Mercer. London: Harvard University Press.
Hofner, T. and Fel, E. (1979) ‘Distinctive Features of Hungarian Folk Art’ Hungarian Folk Art. Oxford University Press. pp. 55-61.
Kadyri, A. (2024) Don’t Miss The Cue. Available at: https://www.azizakadyri.com/dont-miss-the-cue-uzbekistan-pavillion-venice-biennale1 (Accessed: 19 October 2024).
Keller, A. (2014) ‘The Scented Museum in The multisensory museum: Cross-disciplinary perspectives on touch, sound, smell, memory and space. Edited by Levant, N. and
Pascal-Leone, A. Lanham, Maryland: Rowman & Littlefield. pp. 167-175.
Marill, R and Hunegs, S. (eds.) (2022) Prime: Art’s Next Generation: Igshaan Adams. London: Phaidon Press Ltd.
Stevens, H.M. (1999) The myth and magic of embroidery. Newton Abbot: David & Charles. pp. 11-19.
Stevenson, J.R. (2014) ‘The Forgotten Sense’ in The multisensory museum: Cross-disciplinary perspectives on touch, sound, smell, memory and space. Edited by Levant, N.
and Pascal-Leone, A. Lanham, Maryland: Rowman & Littlefield. pp. 273-283.
Szalavary, A. (1980) Hungarian folk designs: for embroiderers and craftsmen. New York: Dover Publications Inc.
Ward, J. (2014) ’Multisensory Memories’ in The multisensory museum: Cross-disciplinary perspectives on touch, sound, smell, memory and space. Edited by Levant, N. and
Pascal-Leone, A. Lanham, Maryland: Rowman & Littlefield. pp. 151-163.