Body bag 1, 13 & 14.8.21
The final piece for my undergraduate degree was a series of 5 stitched sculptures, made with leather and imitation leather. Each had a zip or zips to reveal and conceal parts of the form, and also to act as a resist to create, and indeed, change the form. Each had something different and visceral set into the zips - knitting, quilted felt, felted knitting and manipulated velvet.
Lou Baker, The Others: a self portrait, 2015
For my final exhibition for my MA I planned to suspend 3 knitted sculptures from 3 metal assemblages, but as the design developed I realised that the knitting needed more presence in relation to the rest of the installation, so I began to research ways to make that happen.
The natural consequence of learning new skills in metalwork and casting, as well as being involved in a number of fabulous residencies and exhibitions during this module, is that I haven't had as much time to knit as I would have had without those things. Initially I had imagined that I would have done much more knitting. I had also chosen to make very complex, highly textured, sculptural pieces, in multiple colours. That is extremely labour-intensive and much slower than knitting with just one colour.
Having read about what Mary Douglas says about framing and creative illusion in psychotherapy, I subsequently decided that I would trial some ideas to frame the knitting with a zip and set that into some kind of body bag, based on the dimensions and volume of my own body.
I looked back at Other 1 especially, as I began consider this. There I set a piece of flesh-coloured knitted felt into a zipped bag-like sculpture made with white imitation leather. I considered using imitation leather again this time, but in fact decided that I wanted to play with ways to enable the viewer to see both the front and the back of the knitting simultaneously. I began to work with transparent PVC.
I had 3 pieces of knitting, two in the darker colours of internal organs, and one in paler colours, the colours of my flesh. I vacillated between using the knitting as it was or felting it. There are benefits and meanings implicit in both. I decided to try stitching in a knitted piece first as that is reversible; felting is not! For some reason I thought I had to use either knitting OR felted knitting, but was very interested when Andrea said that she thought that both could work together too. She said it's as if they're mother and child, the knitting is the mother. They're the same thing, but different too, in form, density, surface and scale. That's definitely something to explore further!
The natural consequence of learning new skills in metalwork and casting, as well as being involved in a number of fabulous residencies and exhibitions during this module, is that I haven't had as much time to knit as I would have had without those things. Initially I had imagined that I would have done much more knitting. I had also chosen to make very complex, highly textured, sculptural pieces, in multiple colours. That is extremely labour-intensive and much slower than knitting with just one colour.
Having read about what Mary Douglas says about framing and creative illusion in psychotherapy, I subsequently decided that I would trial some ideas to frame the knitting with a zip and set that into some kind of body bag, based on the dimensions and volume of my own body.
I looked back at Other 1 especially, as I began consider this. There I set a piece of flesh-coloured knitted felt into a zipped bag-like sculpture made with white imitation leather. I considered using imitation leather again this time, but in fact decided that I wanted to play with ways to enable the viewer to see both the front and the back of the knitting simultaneously. I began to work with transparent PVC.
I had 3 pieces of knitting, two in the darker colours of internal organs, and one in paler colours, the colours of my flesh. I vacillated between using the knitting as it was or felting it. There are benefits and meanings implicit in both. I decided to try stitching in a knitted piece first as that is reversible; felting is not! For some reason I thought I had to use either knitting OR felted knitting, but was very interested when Andrea said that she thought that both could work together too. She said it's as if they're mother and child, the knitting is the mother. They're the same thing, but different too, in form, density, surface and scale. That's definitely something to explore further!
13.8.21 Body bag 1: Setting the knitting into a zip
I had to decide between black and white continuous zipping. I chose black for the darker innards as I wanted the zip not be too obvious. The knitting still had knitting needles in it so I thought I'd stitch them in with the knitting. This gives a nod at the fact that the knitting is unfinished, but also the plastic line which is part of the circular needles would also give extra form.
For this first Body bag, I stitched the knitting tothe zip so that the 'right' side of the knitting is facing out of the bag. This means that the long loose strands at the 'wrong' side will be trapped or trailing inside/outside the bag.
I had to decide between black and white continuous zipping. I chose black for the darker innards as I wanted the zip not be too obvious. The knitting still had knitting needles in it so I thought I'd stitch them in with the knitting. This gives a nod at the fact that the knitting is unfinished, but also the plastic line which is part of the circular needles would also give extra form.
For this first Body bag, I stitched the knitting tothe zip so that the 'right' side of the knitting is facing out of the bag. This means that the long loose strands at the 'wrong' side will be trapped or trailing inside/outside the bag.
I love the way the zip frames the knitting, creating an unexpected boundary. I find it an intriguing device - with notions of garments and the body. It's definitely an unusual object to find in a Fine Art setting. It also gives it body, form. Opening and closing the zip reveals and conceals different parts of the knitting and acts as a resist, making the knitting more sculptural.
13.8.21 Body bag 1: Design ideas
I've used economy medical body bags for a number of years to store and transport my body sized sculptures. They're the perfect size, and much easier and cheaper than making my own. They're made from light plastic with one long zip down the centre:
I now wondered whether I could make customised body bags, using transparent PVC, based on my dimensions. I initially considered making rectangular bags, like the actual body bags, but finally decided that something my shape would be more interesting. Here are some of my preparatory pattern ideas. I like the resonance with pattern cutting and garment construction, and the association with clothing and the body, specifically my body. For many reasons that's important to me, even though I have concluded that my work isn't actually 'all about me' but is about somebody/anybody/nobody .
13.5.21 Body bag 1: wrestling the invisible beast (aka stitching the PVC bag)
I used one of my dresses to cut out 4 PVC sections... and then began to stitch them together:
The plastic was, inevitably, extremely hard to manipulate, control and stitch. It's prone to static, so sticks together and is also 'sticky' as it passes through the sewing machine. As it was essentially as big as me, as I stitched it I felt as if I were wrestling with some disembodied, invisible beast. It's unruly and some of the results of my stitching process were definitely led by the material, not by me. It reminded me strongly of my research into knitting with monofilament.
I decided to use black thread for the first bag and was delighted (after much struggle, pushing and pulling and performative making) to see this mark making...It's almost like a code, or asemic writing. I am always thrilled when materials do something unexpected.
The PVC also has the most intriguing qualities. The changing reflections and distortions are mesmerising. With one of the bags, each time I moved it as I stitched nI took a photo. This is the resulting stop animation:
14.8.21 Body bag 1: photoshoot
This is my favourite image of Body bag 1 before I stitched in the zipped knitting. It's so poignant, speaking of absence and presence, ghostly.
I also interacted with it as a solitary performance. I've reflected on that here.
14.8.21 Body bag 1: wrestling the invisible beast 2
Stitching the zipped knitting into the plastic body bag was even harder. It absolutely felt as if I were wrestling a beast, which was the same size as me and had a mind of its own. Definitely another example of performative making.
14.8.21 Body bag 1: And relax!
