SG: What course did you study at UAL and what is your practice?
MY: I studied Foundation Degree in Knitwear at London College of Fashion (LCF), and after graduation, I chose to be a mixed media fine artist.
SG: What inspired the piece you submitted for the ‘Tell us about It’ project and why did you want to take part?
MY: My teacher recommended ‘Tell Us About It’ because I was a mature student. Once nominated, they asked me to create two artworks and asked me about my experience in university. So, as a response, I created two abstract paintings.
One was a bit messy and chaotic and which represents how I was at the beginning of my studies – you know when there is too much information to cope with and you are also trying to find your way at the start of the course.
The second painting is made up of a mixture of crochet and painting. It is still messy (to show how it was for my mind) but represented my love and enjoyment for Knitwear (which was my chosen pathway).
Knitwear gave me so much understanding about structures, and about how I can build things with the practice of knitting.
SG: How has your practice developed since you graduated?
MY: I graduated from fashion and textiles, and I didn’t want to be a part of it because I didn’t understand the industry in the UK, as at the time I was living in London with my son which was difficult. There aren’t any factories, there are several head offices and some agencies and so in many cases, you have to work hard to create so many samples as a newcomer – especially at the beginning after you graduate where everyone is trying to use your will power freely as an internship.
At the end it is not my work anymore; it is more of ‘I am doing things for them’ and I didn’t want to be a part of that.
You are creating samples which they ask you to make and you don’t know whether they are going to take the samples and reproduce it more cheaply in other countries; you have no idea whether after this they might even reject your work – and end up working for ten days for no pay).
Especially with knitting, I didn’t want it to be of and/or in the high street, so I was a bit more creative than usual.
I also got selected in the 2012 Knitting and Stitching show and my work was showcased in Alexandra Palace and in Harrogate. During my studies, I also entered a competition called the Iffti Project, where four different designers from different countries collaborated, and as a result, one of my pieces was sent to LA.
We also collaborated on a hospice project where I taught residents how to repurpose recycled materials in jewellery. Through this project, the patients and relatives were able to have time to move away from the stress of their sickness. As a result, this project was also nominated for a larger prize as an outstanding example of collaboration.
SG: How has UAL contributed to your professional journey?
MY: This is such a huge thing, I don’t know where to start.
It’s like Yin-Yang – there were so many positive aspects, but also negative too (I am not blaming the teachers, but the people who didn’t give the right direction during my studies).
When I had my second son, I realised what kind of artist I needed to be. My work was a bit more creative, more sculptural and I was trying to find my way because they couldn’t frame my work for that course; they didn’t have the necessary space or tutor expertise for me and so I really struggled with that. They didn’t help me to understand the process of hybridisation. As I have now moved from a student to a teacher, from my prior experience I understand how I can better help people – I took my negative experience and used it as an advantage to assist others.
As soon as you graduate, you will have a different portfolio and you are heading out yourself. It is kind of like you are swimming in unfamiliar waters. If you prepare beforehand, you know what you are capable of. So whilst you might want certain things, in the end, you realise that it’s not all going to fit into one practice – and you will realise who you really are and what you are capable of doing in actuality.
It all boils down to lived-experience; you know, like sometimes you have to go through things to understand what that struggle means.
SG: What advice can you give to students currently studying at UAL, especially those from disadvantaged backgrounds?
MY: It’s hard. It’ is hard work! The best advice I can give is to find out who you are, what you are capable of and what skills you have. Get the right advice from people in the university and be active. Get involved with Shades of Noir; get involved with Outreach projects. Whatever the opportunity, you need to take it.
I also suggest reading.
Read, read, read!
The last piece of advice that I would like to give is that UAL does lots of events, I recommend going to those events and create a network while you are still at university.
SG: What has been your most memorable project so far?
MY: When I had my son, (as he was so young, I had loads of time on my hands at home) I started experimenting with several things – that’s what I like to do. These experiments were done without knowing ‘how’ or ‘what’ I can make because during my studies there are two sides of teaching.
One taught us to learn, and the other side was how about we don’t know anything, or what we can do yet. So, the things that manifest without measuring, without a sketchbook (I was testing myself, as well) was for me very successful and I really loved my work.
I consider them a success because it was possible for me to craft – ‘if other people can do it, I can do it as well’, I thought to myself repeatedly.
Sure, the university allows students to be experimental, but they are moved in research where you are made to focus on other people’s projects.
But how about you?
What do you have?
Maybe build-out of something that you know of already.
SG: How do you keep yourself motivated?
MY: It’s hard – I am human. We have so many things to deal with, especially a woman; as an adult who is trying to create a space to be who you truly are – it’s really hard.
For me, I hold onto my passions.
Yes, I am a mother and I am ambitious – if I lose this then that won’t be me so this is making me hold on. If you realise your own potential, your passion, then opportunities can be created or made to happen.
If it can happen for, why not for other people?
If I lose my passion if I lose my motivation, then who’s going to make it?
SG: Is there a message you are trying to convey in your creative expression?
MY: I have seen lots of problems with communication with people(s). In our modern life, we are moving away from our human nature and so I am working on trying to bring it back.
In our daily lives, we are getting pulled up from one way to another way – stretching us unnaturally. Your culture, your kids, what life you want, your desires, what you want to be – these are the kind of things you sometimes lose sight of. Stop doing things and start thinking about who you are and how you see your life.
With my work, I am to show a big picture.
So, what are we missing in our life?
What is it that we want to say and what is it that we don’t see in this fast environment where we don’t stay still enough to notice?
SG: How do you reflect on your work?
MY: In the first stage, during my studies, it was like I was travelling on a fast train – seeing things very fast and not realising what I’m missing. From the inside-out, I started to investigate human nature and tried to see a bigger picture.
In the second stage, there comes a reflection about my artwork – this will be an exploration of that. Like I mentioned earlier about travelling on a fast train, I used to say I want to do this and that, but now I just investigate all avenues of this thought.
The work that I manifest could be in opposition to something that already exists in the world.
Whatever I see will reflect within my artwork. Thus, anything that is missing or that I am not seeing will similarly present within my artwork.
Secondly, when I build knowledge as a teacher I ask students to think about otherness (or ‘other ways’) – you know what they can do, how they can find their potential and what they can do for other people. For example, the packaging of a cigarette consists of an image of how it can harm people, but people still smoke.
So, collaboratively let’s think ‘how can we change this?
How can we cope with such that?
If you bring in a new language, can that be a factor for change?
How will it look when this is put into practice?
This is a reflection – I learn something and now I am reflecting on it.
