Kiran experienced similar initial response to Gemma with the Pony photograph, it felt important to break into the surface. She soaked the photo in water for quite some time and then worked at it with a scouring pad, rubbing the surface of the picture away on the creases and folds that emerged.
To work back into the piece, Kiran started researching needlework and tapestry stitches on the internet, downloading a needle work book full of gorgeous black and white images and technical diagrams of stitches. There was also a certain amount of material concerning the proper execution of stitches.
For motifs Kiran was taken with the idea of the horse and horseshoes being a slightly incongruous image for a church kneeler, though probably a very typical secular image. Kiran researched the history of the motif of the horseshoe and why it should be considered lucky, it seems the image is linked with the church though the story of St Dunstan and other similar stories.
Kiran is currently learning to use a Vinyl cutter and saw this as an opportunity to explore how certain aspects of the drawing programme and cutter worked. Generating a pattern of stitches, she cut shapes out, a pair of horseshoes and some leaves, playing with the positive and negative images the vinyl cutter produced. She cut the motifs out of flock vinyl in order to reintroduce some textile characteristics to the piece. The whole thing was heat pressed to flatten it out after the soaking and to attach the vinyl. It was then rubbed with graphite to take away the extreme whiteness that was the result of scrubbing the surface of the photograph.