Augustus Pugin was the architect and designer behind buildings such as the Houses of Parliament. Pugin has become an influence to this series of work not for his architecture but rather due to his philosophy towards construction. Pugin defended truthfulness of structure and richness of ornament in natural forms. This structural honesty translated through his work in such ways that his designs revealed the methods of construction, such as displaying nails and joints rather than concealing them. Pugin explained this, as even such commonplace objects such as locks, hinges, and nails could be ‘rich and beautiful decoration, if they were treated as decoration of construction’.

It is this attitude of honesty to how we create that has influenced this body of work. Textiles has a great and lengthy history enriched with skill and technique, however I create very much of the moment using short cuts and quicker methods of achieving the same outcome. Through this I take advantage of the visual accidents that occur. Hand stitching that I would incorporate into my work may seem quite crude in consideration to textile tradition however I feel it offers more characteristics and elements which tradition does not contain.

Drawn line is also a large element in my textiles and the relationship of the drawn and stitched line fascinates me. This method of making allows for the interaction of textiles, the universal language of touch, as trying to distinguish which mark is caused by which method can become difficult unless felt. I prefer to work in the uncomplicated fabrics of natural cotton calico, twill and fleece. I am a mark maker rather than a fabric manipulator and so favour a simple canvas to work on.

Line directs the movement of the viewers’ eyes around a visual and as I am using a combination of several different techniques and processes, this is something I need to take great consideration and sensitivity towards. Due to this I maintain an economy of colour, using only blacks and creams. The tactic by limiting colour is to reveal the complex mark making created by simple stitch marks. I feel that if my work were full of colour it would become too busy and therefore distract from the details I find more interesting visually.

The reverse side and its methods of construction have become the fundamental aspect to this body of work, and so need to be presented in such a way. I trapped my work within sheets of perspex, hanging in space, in order for the pieces to be viewed from both sides. This would allow the spectator to observe the visual source to the work and its assembly - how I have seamed pieces together, where threading accidents have occurred, edges have frayed, how I have ended and knotted lines of hand stitching - all elements normally hidden from view, I find more visually appealing. In the words of Pugin ‘the most commonplace objects can become beautiful decoration’. I feel this method of presentation also produces a polished finish much like the architecture that inspired the series. By displaying the reversal as the front side I am expanding the perception of textiles, and what is and can be visually attractive. For the future I hope to extend this body of work into corporate commissions, the visual source of plans allows each piece to become as individual as each company.