Imaginary Science is a combination of works on paper and embroideries, using botanical, anatomical and cellular imagery, reclaiming historically feminine practices like embroidery and watercolour painting. Exploring the space between art and craft, and the use of intensive hand-made processes, the work uses hybrid forms to articulate an imaginary science. Imagined life forms are created from the influence of Australian and European flora, producing hybrid and abstract shapes that are joined together through repetition and pattern. The work posits about the environment and climate change by exploring hybridity of flora and looking at botanicals on a cellular level. The work explores liminal spaces between art and craft and between art and science; looking to these influences to explore tactility and materiality.
Works on paper form part of the fundamental underpinning of this project and comprise of preparatory sketches and watercolours, a series of small round works, and a large pencil drawing. Colour relationships are often tonal with the use of painterly techniques, under scored by a descriptive drawing practice.
Painting/embroidery works comprise of small specimen-like embroideries and one large scale embroidery (110cm x 110cm) on linen. Colours are mixed in Procion dye and hand painted onto the fabric, and many of the yarns are hand dyed. Embroidery is used as a drawing technique, featuring backstitch, French knots, split stitch, brick stitch, bullion stitch, turkey rug stitch, wheat stitch and rope stitch. The influence of fashion is played out through the techniques, colour palette and tactility of the materials, referencing embroidery samplers and pattern.
Imaginary Science references textiles and pattern, fashion, drawing, painting and printmaking, utilising a range of skills related to these practices, embedding concepts in the materials.
To see more of Imaginary Science, follow this link to the website for this project: http://silver-megalodon-k94s.squarespace.com