'Green 116'
'Green 116' is a collection of batiks presented as part of the MA Show 2025. The work consists of nine smaller pieces, each approximately 30 x 30 cm, arranged around a larger central piece measuring 90 x 120 cm. Together, these components form a unified installation that explores the relationship between individual elements and the larger environment they inhabit.
The piece was created using a combination of newly developed batiks and selected works from Unit 2 that particularly resonated with me. I chose these specific batiks because they represented subjects that inspired me most when viewed in situ, allowing me to construct what I consider a “curated environment.” This environment reflects my personal vision of the natural world and serves as a dialogue between myself and the audience - inviting viewers to reflect on how they perceive the world around them and what those perceptions mean in their own lives.
Research into the practice of Yinka Shonibare significantly influenced the development of 'Green 116'. His innovative use of textile installation prompted me to consider how the presentation of batiks alters their meaning and reception. Inspired by this, I chose to display the works within steel frames, introducing variance and depth to the overall composition. This decision was intended to echo the three-dimensionality of real-life natural environments, reinforcing the sense of immersion and layered complexity.
'Green 116' marks a step forward in my exploration of installation as a means of extending the symbolism embedded within my practice. I intend to continue building on these ideas, experimenting further with how the arrangement and display of my work can deepen its connection to the themes of nature, perception, and environment.
'Green 116', various batiks hung on steel frames, 2025
'Green 116' detail
'Green 116' detail
'Green 116' detail
'Green 116' detail
'Green 116' detail
'Green 116' detail
'Green 116' detail
'Green 116' detail
'Green 116' detail
'Green 116' detail
'Green 116' detail
NEW WAXES
Before Unit 3, I primarily worked with plant-based soya wax in my batiks. Wanting to broaden my material exploration, I decided to experiment with beeswax, which, like soya wax, maintains a natural connection to my subjects through the role of bees as pollinators in plant life.
However, when applying the melted beeswax, I found it to be quite unruly. It did not penetrate the cotton fabric as well as I had hoped, resulting in less control over the lines and patterns. This challenge highlighted the importance of technical experimentation in achieving my desired outcomes.
Moving forward, I plan to continue testing different temperatures and ratios of wax to refine the process. In particular, I am interested in combining beeswax with paraffin wax, as this mixture should allow for crisper, more defined lines in my batiks.
A close up drawing of Firethorn fruit which I plan to make into a batik
Beeswax being applied to stretched cotton
