Kiran interpreted the original boxes piece by developing the scale of the fabric boxes and using the idea of form that they presented to explore her own prints in 3D. She experimented with stiffening the boxes, enlarged about 8 times, with starch and bonderweb. Different treatments make the boxes behave in different ways. Kiran also experimented with the opaque prints, which is one of her signature techniques, on tracing paper to build up a collection of boxes. She tried heat pressing the paper to flatten it but decided she preferred the texture of the print rather than the wrinkles that came out the heat press.
There were some technical issues with the development of the larger boxes and the function of the boxes in being a display for her fabrics. To begin with Kiran tried an all-over print copying the box construction initiated by Gemma. This involved too many layers of fabric as Kiran wanted to boxes to be as translucent as possible. This random distribution of the pattern was also not entirely satisfying.
Kiran re planned the next box to use half the fabric and designated certain panels to display the print. The nature of fine fabric also contributed to the design as the boxes rely on a structure of squares and the fabric was too flimsy to retain any linear structure. Kiran used Gemma’s idea of the method of construction being the decoration and designed a print of grid lines representing the folds and containing the panels of decorative print. This ‘decorative print’ is one of Kiran’s prints that are silk screen interpretations of shibori dye patterns. She uses these in her own work creating textiles for interiors.
Kiran used a combination of bonderweb and starch to hold the print as a more rigid sheet and to make the folds more permanent. She feels that this is a starting point for making an entire body of work exploring form and presentation, a step towards a ‘product’ or way of defining an object interpretation of the prints. Kiran also feels that she could incorporate other characteristics of her work blending print and dye, by dunking the boxes in dye.
This exchange gave Kiran the opportunity to use her signature style of working, utilising someone else’s idea with techniques which she uses in her own practice. It was a relief to find a way of tackling form and structure, starting with something flat and creating a structure from it. Kiran found it an ‘acceptable’ way to incorporate the ideas of others as she always feels obtusely reluctant to take advice “ oh you should try this or that” Having the suggestion in a physical form rather than helpful advice was much easier to swallow and actually use.
There was some discussion about trying too hard to come up with a ‘product’, not letting things emerge naturally, the conflict of creating and selling work professionally. Kiran has been doing some ‘craft fairs’ but found them un interesting in that it was adapting ideas for items that did not have enough integrity. She has resolved to explore more artistic avenues than commercial formats of fairs and markets. There is a conflict between being a visitor at such events, enjoying them and appreciating the work and thinking ‘I can do that’. It might not be the best thing to do creatively or perhaps at this time.