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*Egyptian artist whose work deals with issues of gender and sexuality.
*Her most notable body of work involves highly layered embroidered portraits of women's bodies referencing pornographic imagery.
*Through this work, she creates an autonomous female nude as it is not created by the male gaze, but through a traditionally feminine discipline, needlework.

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*In her film and photography work, Bhabha crystallises the universal but rarely captured experience of oversaturated, intense feelings and imperfect relationships.
*Her protagonists give voice to the vast spectrum of emotion, spanning the desire for inner peace, true love, fear of commitment, playful ambivalence towards life and the paradox of wanting intimacy but craving isolation.
*When I encountered her work, I was inspired by how Bhabha smashes the stereotype of female emotion being a hinderance.

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*American neo-conceptualist artist.
*The main focus of Holzer's work is delivery of words and ideas in public spaces. She uses language to explore ways that words can manipulate and influence us.
*Her short texts, which she mostly writes herself, range from inflammatory to introspective essays.

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*To create my work, I wrote the chosen phrase on the clothing in either pencil or chalk, then followed it with wool embroidery. I used an embroidery hoop to keep the material as stretched and level as possible.

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*West German-born American artist whose work has addressed the themes of sex, birth and regeneration
*Fascinated with the body and bodily fluids, Smith often examines excreta such as blood, semen, and bile in carefully crafted sculptures that bear the influence of Surrealism.

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*Jenny Watson is known for candid works that document her life and dreams.
*Her paintings reflect a particular emphasis on women’s experience by depicting female figures onto materials selected for their cultural significance, geographic origins and individual histories.

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*Creates abstract sculptures that explore the physicality of materials as a way of understanding and communicating the world around us.
*Black uses plaster, paint, paper and chalk in her work, along with substances such as cosmetics and toiletries.
*She uses a similar colour palette to mine, making her installations appear more fragile and delicate than they may really be.

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*Linda Marrinon is celebrated for her plaster and terracotta figures which employ a playful wit, feminist theory and a critical appraisal of modern figurative sculpture.
*I enjoy how Marrinon playfully parodies and pastiches the traditional canon of Western art history.

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Regarding how I want to exhibit/photograph my work, I decided that the clothesline was the most effective manner of doing so. However I didn't like the backdrop of the line in my photos, so I put up another line against a less fussy, more natural background in part of my garden that is also better lit by the sunlight. These are the images I took of the work there.

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*Irish artist Alice Maher's work often investigates themes of female transformation and expression.
*In her watercolour series, "The Glorious Maid of the Charnel House", Maher depicts  a world where the female body shifts between what is recognisably human to embrace elements of flora and fauna, as well as subvert notions of what is internal and external, what can be revealed and what must remain secret.

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*Irish artist
*Uses a wide range of materials in her work, including found objects which have been in her family's possession for many years. I love how she re-purposes objects that already have a strong personal history and uses them to tell a modern story.
"Virgin Shroud"- made by stitching together a cow-hide, complete with udders, and her grandmother's old wedding dress.
*She also makes marble sculptures which resemble soft, textile forms.

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The final piece I created for the project this semester, "Closed for maintenance". As I no longer had access to second hand clothing shops due to the pandemic, I worked with an old tank top belonging to my mother. This influenced me to choose a sentence that was not said by her, as I did not want to focus it entirely on her personality.

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I layered all of the pieces on the hook to explore the possibility of displaying them overlapped

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I layered all of the pieces on the hook to explore the possibility of displaying them overlapped

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I photographed all my finished works hanging on a hanger on a hook on the wall of my bedroom. I thought this way of focusing on the works by omitting a busy background would heighten their impact, but instead I think it reduces it. It renders the work stagnant and deflated, compared to how hanging them on the clothes line or having them modelled by my friends gives them life and movement in two very different ways.

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*Works with a range of materials to make expanded sculptures. They often resemble textiles, but aren't wearable.
*"In The Grace of its own Shadow", (1994). Looks light but not floating away, bridal, veil-like, transparency of material is important.
*She speaks of something she experienced by choice before which is affecting us all currently, isolation, as being something that can either break up your personality or remake you. "I had experienced a confrontation with the shell of my own personality in that self-induced isolation, and I felt I returned to a deeper resource inside myself"

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*Barry's work focuses on language, both written and spoken, as well as its visual deconstruction and displacement. She says she is "neither an artist nor a writer", a feeling that I can relate to.
*"The Blue Volumes" - disjointed text-based work.
*The notion of something as a finished or unfinished piece - "you have to get out of that frame of mind to enjoy it or understand it" - similarly to "The Blue Volumes", my work could be continually added to, but this does not mean it is unfinished.

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I am currently working on another piece embroidered onto an old top of my mothers. I originally didn't want to use any clothes belonging to people I know, however, with the closure of charity shops recently I had to work around this. This may be the last in the series as I am now eager to focus on documenting the work. I plan on photographing them again on the clothes line, but on a sunnier day, to explore the effect this has on the mood that is created and in turn how the work is received. I also want to take video clips of them blowing in the wind on the line and photograph them hanging in my wardrobe.

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Another new piece I created since college closed were these stockings, which I originally bought for a project whilst on erasmus  but never used. They read "sour" and "crusty".

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As well as new work, I hung up and photographed the works I had made nearer the beginning of the semester. I felt like I already knew these pieces as well as possible from seeing them every day in the studio, but I think hanging them outside in this very loaded (both idiomatically and historically) manner gave them another dimension and made me view them in a different light. For me, it made the work feel more raw, honest and important. I felt like I really was "airing my dirty laundry" or "hanging myself out to dry" due to this process.

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Since we started working from home, I completed this piece on a yellow t-shirt which reads "He told me he loved me then told me he was only joking".

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I purposely gave each of the girls a piece of clothing with text that they did not produce in order to maintain the anonymity of the work, and also to allow them a greater sense of freedom when wearing the clothes. I believe having my friends model my work really animated it and presented it in a lighthearted, lively and robust fashion.

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I also tried out exhibiting my work on the clothes line at home. As I photographed them blowing in the wind I felt differently towards them than I did when they were being modeled by my friends. They were much less humorous with the absence of people, more somber and deflated. I'm not sure which works best but I enjoy the contrast

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*Takes unwanted china and upcycles it into artwork.
*Repurposing of vintage material encourages me to look beyond just using textiles.

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To explore how I wanted to exhibit my work for the Farmleigh exhibition, I got Aifric, Caleigh and Catherine to model some of my work for me before college closed. They posed however they wanted and with whatever they wanted in the room, as I wanted to get different opinions on what worked, and to allow the girls who inspired my work to take control of what they had contributed to.