According to textile artist Maxine Bristow, ‘the laborious working of row upon on row  of stitching, the hand turning of buttonholes and cracking of gesso-encrusted cloth [-] every centimetre of the surface within my work bears the trace of my own DNA  trapped within the fibres of the cloth.’  Such trace elements were embedded in the embroidered belt that a Japanese  soldier wore underneath his uniform.  On the belt were stitches  made by each of the people  in his village, so that he carried with him, in the cloth and next to his skin, an embodiment of their good wishes, warmth and confidence.  As such, hand embroidery becomes the witness  of both soldier and the embroiderer.

Kettle,A,McKeating,J,(2012),Hand Stitch Perspectives,Bloomsbury,London

The idea of there being a something of yourself in a piece of cloth you have worked with or stitched upon is an idea that resonates with my own thoughts early on in my research when I commented that when I repair an item “It alters the way I feel about the item, it suddenly has more of ‘me’ in it”.

I think I would like to create some work based upon these sort of principles,  that the work is created by me, coloured by me, stitched be me and therefore has me in it.  I would also like to look at the aesthetic qualities that drew me to look at Boro to begin with.  During a chat with my tutors they mentioned that the Boro images I had selected had quite an abstract sort of look about them in their composition .

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