Seaweed
My interest in seaweed came as a natural consequence of my ongoing projects.
Microplastics are a high topic regarding seaweed.
"Every year, around 4.8 to 12.7 MMT of plastic debris enters the ocean from the plastic waste produced by the 192 coastal countries across the globe (Jambeck et al. 2015); further, about 1.15 to 2.41 MMT of plastic debris enters the ocean through rivers (Lebreton et al. 2017).
Fragmentation of this plastics debris generates microplastics that pollute marine habitats including beaches, lagoons, mangrove forests, and deep oceans." (Parmar, et al. 2023)
Microplastics are now inseparable part the marine environment, they are present around seaweed.
The main purpose of the Interwoven project is to create a gathering basket to collect seaweed by Câr y Môr.
It was only logical I took an interest in seaweed. I always found seaweed fascinating. there are so many species they are very different in looks and uses.
During this experiment session,
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I cut ripped out paper into a shape of seaweed
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I spray-painted pompom string. the echo of the pompom resemble seaweed movements.
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I created echo and negative form of seaweed shapes on waste calico fabric
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I folder rigid textile into bow like and spray painted looking at the negative space it left behind.
Video is capturing the simpicity of the method, to create the eco shapes.
Once I got a handle on this spray painting technique, I created a large A2 art.
I
February
I wanted to create surface patterns inspired by seaweed.
Seaweed
experiment
1
Seaweed
experiment
2
Visual searches of seaweed, led me to creating couple pages in my sketchbook.
I wanted to explore the seaweed form and colour., I used watercolour, and second time I used silk, as its a natural material, should be free of microplastics. However I used acetone markers. The markings on the silk was seeping into the material. This was very interesting. I helped to the process further and added water over the markers.
The effect was very fluid, theres a touch of movements.
I set to create something that will not only make me see seaweed, but also I wanted to have more feeling of seaweed exploration.
seaweed red dulce, common in Uk waters
watercolour on paper
Markers and water on silk
surface pattern files
using elements i created in previous experiments, i made surface patterns inspired by seaweed.
I experimented with various elements in within the design software. I enjoy how biological and 3 dimensional some of the tiles look.
I wanted the composition to have depth and feeling of biological matter or organic wetness.
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this is the first time i started narrowing my colour palette and start placing systems into my work as conscious decision.
Seaweed
experiment
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Creating these surface‑pattern tiles was both enjoyable and a chore. At that point my project felt unsettled, and because I had already booked a digital fabric‑printing workshop, making the tiles seemed like the logical next step. The workshop itself was hugely successful—the colours printed beautifully, and I gained valuable experience with the method.
But despite the good outcome, I realised I don’t enjoy the process or the feel of the final printed fabric. My need to stay conceptual and close to core materials just doesn't agree with the complexity and equipment needed for digital printing.
When I reflect back to my original idea, “Material takes time,” digital printing stands in direct contrast to it. The speed, precision, and technological mediation of the process don’t align with the slower, more embodied, material‑led approach that feels true to my practice.
Sampling to resemble texture and translucence nature of seaweed.
this sampling was a lots of fun, I like the outcome, however this sampling became a dead end, as my interests were taken in different direction.
This morning I found myself with unexpected free time before the tray‑making workshop with Interwoven. Almost immediately, I felt a strong impulse to weave. It wasn’t a planned decision; it was more like a physical urge to make something with my hands. I remembered using a small frame loom in the past, but none were available, and although I knew there were Wednesday workshops, waiting didn’t feel possible. I needed to create in that moment.
Following that impulse, I walked into the wood workshop in the Alex building. I was aware that I needed an induction before using the space, but Eugene kindly offered to give me a quick introduction to the workshop and the machinery, including all the necessary safety procedures. This felt like an important step, as I can see the workshop becoming a valuable resource for future projects.
Once inside, I used the mitre saw, drill, and glue to construct a simple frame. I added nails along the short edges to act as anchor points for the warp. It was a very direct, problem‑solving process: I needed a loom, so I made one.
Back in my studio, I warped the frame and began weaving. My starting point was an image of seaweed that has been inspiring me recently. I was limited by the colours of wool I had available, but—similar to my surface‑pattern work—this limitation created its own system. The restricted palette shaped the outcome in ways I wouldn’t have chosen deliberately, but it pushed the piece in an interesting direction.
The weaving took around ten hours to complete. When I removed it from the frame, I attached it to a piece of hazel. This combination felt appropriate, especially given the context of Interwoven, where hazel and willow are central materials. It created a sense of continuity between my spontaneous making and the wider project themes.
Looking back, this morning reminded me of the value of following creative impulses. The act of making the loom, weaving the textile, and resolving limitations through improvisation all contributed to a deeper engagement with the materials. It also reinforced how important accessible workshop spaces are for my practice.
I found an image of floating seaweed. This image placed next to photo of microplastics was compelling me to create something.
Seaweed
experiment
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woodworkshop
making of loom
weaving
DIARY ENTRY
11 February
