About Me

Hello everyone! My name is Khadija Dee – at least that’s what I go by. Welcome to my blog! I am a first year Textile Design student at De Montfort University. I’m nineteen years old and have spent my whole life being surrounded by textiles as my father has his own business in the textile industry. I’m a very hands-on, physically motivated individual. I love to get stuck right in to a project; challenging both my mind and the capabilities of all sorts of materials.

Let’s jump from one side of the spectrum to the other for a moment. I love maths. Just last year my final exhibition piece was based entirely on circles, heavily influenced by the works of Olafur Eliasson and Bridget Riley.

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Fig. 1 – My installation based on circles. (Dee, 2015)

I’ve come to the conclusion that Mathematics is my culture. It’s where the root of my interest, influence and productivity lies.

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Fig. 2 – Olafur Eliasson (Beccaria, 2013)
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Fig. 3 – Installation (Eliasson, 1996)

 

 

 

 

 

 

 

 

 

Olafur Eliasson’s “art focuses on the value of individual experience” (Beccaria, 2013, p. 8) which is also what I try to achieve in the work I have produced. Colour, light, composition and emotion are the main factors that attract me.

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Fig. 4 – Bridget Riley (Kudielka, 2016)
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Fig. 5 – Artwork (Riley, 1963)

 

 

 

 

 

 

 

 

 

Bridget Riley’s “exploration into how we look at colour and light illuminates and enriches our engagement with the world around us.” (Groom, 2016, p. 7)

They both inspire me as a designer firstly due to their use of mathematics in their work but also because they focus on filling the void between the viewer and the piece of art. There’s a sense of motion, feeling and communication instilled in their work which captivates the viewer and plays on their senses. Without their influence I would not have been successful in producing my own installation ‘Spherical Dreams’. Bridget Riley’s sense of colour and proportion is phenomenal. It’s the reason her optical art is so successful as she uses individual colours to “change their identity through juxtaposition” (Kudielka, 2016, p. 35)

References

ASKEW, L. and GROOM, S. (2016) ‘Foreword’, in Paintings 1963-2015. London: Ridinghouse, pp. 7–10.
BECCARIA, M. (2013) Olafur Eliasson. London: Tate.
KUDIELKA, R. (2016) ‘Biographical Notes’, in Painting 1963-2015. London: Ridinghouse, pp. 81–93.

Image References

Fig. 1 – DEE, K. (2015) Spherical Dreams [3D Structure]. Leicester College.
Fig. 2 – BECCARIA, M. (2013) Olafur Eliasson. London: Tate.
Fig. 3 – ELIASSON, O. (1996) Tell Me About A Miraculous Invention [Installation]. Olafur Eliasson by Marcella Beccaria.
Fig. 4 – KUDIELKA, R. (2016) ‘Biographical Notes’, in Paintings 1963-2015. London: Ridinghouse, pp. 81–93.
Fig. 5 – RILEY, B. (1963) Dilated Centres Paintings 1963-2015 by Bridget Riley.

Word Count: 314

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