Sanctuary of Emergence: A Reflection

 

Sanctuary of Emergence 2024, 120cm x 125 cm

Sanctuary of Emergence was created as an evolution of my previous piece, Citadel. I used an AI-generated image as a starting point, running Citadel through the app 'Wonder' and refining the outputs until I found a vision that resonated. This iterative process felt like a dialogue between past and future work, blending technology with my own handcraft.

The first version of a Wonder App 

generated castle scene based from an uploaded image of Citadel

An earlier version of a Wonder App generated castle scene based from an uploaded image of Citadel

I continued to generate new images and made amendments to image 

This was the image image I chose from Wonder app

For me, Sanctuary of Emergence is about transforming dreams into something tangible. Castles, as symbols of escapism and imagination, were central to my vision. By using recycled bedding, the piece connects this sense of fantasy with the familiarity of everyday life. The softness of the fabric contrasts with the grandeur of the imagery, mirroring the way our aspirations and material reality are often interwoven.

Citadel, 2023, 115cm x 116cm

The process itself was a journey of discovery. I experimented with a digital print of the piece to see if it could speed up my workflow compared to manually piecing together sections. While the print cost £100.87 through Contrado UK, I justified it by the time saved in redrawing the image. 

This is the Contrado UK print

It became a master template, offering the potential for multiple iterations of the work. Once transferred onto fabric, I painted using a mix of acrylic paint and fabric softener—a technique I had seen online and wanted to trial. The effect was fluid and layered, similar to watercolour, allowing me to build the image gradually.

I pinned the piece to our glass doors and traces over it will Calico

  However, sustainability has become more of a key consideration. The sustainability audit we conducted within seam collective made me question my material choices, from fabric softener to printing processes. While digital printing can be efficient, it comes with transportation and material costs that challenge my goal of reducing environmental impact. As a result, I am now researching alternatives such as natural dyes and eco-friendly softeners from suppliers like Big Green Smile. My discussions with fellow artists have reinforced the importance of balancing innovation with sustainability.

This is the traced image

I did also trail a wash with a low setting as I was told I should be able to wash the fabric and retain the pigment from the acrylic. I tested this out but I was disappointed to find that it really washed out the pigment, so I definitely won’t be washing this piece unless I have too!

you can see on the left what happened after one wash!

Once I had drawn out the image, I began to paint into the fabric using a combination of acrylic paint with fabric softener. I had seen this technique online and wanted to see if the method was effective. I really like the output; the acrylic becomes like watercolour and you can build up the image and spread the pigment around the surface of the material.

I built the image up in layers, like a process of creating a print. I painted out all the areas of the building yellow, then added blue sky and roof tops and then added green areas for the areas of garden. 

As the piece developed, I reassessed its composition. A critique session with another artist, Ella Abel helped me reflect on the image overall. It led me to adjust the density of the buildings, introducing more foliage to create a natural rhythm between structures. This alteration made me reflect on the iterative nature of my practice—the way ideas evolve, not just through AI prompts but through continuous, hands-on modification. Even with a master template, no two pieces will be identical; each will be shaped by instinct and experimentation.

Sewing into the piece brought another layer of transformation. Every stitch altered the fabric’s tension, requiring careful management to maintain consistency. Building up tonal variations added depth and realism, while adjusting thread weight allowed me to create highlights, shadow, and half-tones. This intricate process reinforced my understanding of how to construct an image in textile form—both technically and artistically.

close up of Sanctuary of Emergence during its creation

The final piece feels like an achievement in process as much as in outcome. Compared to Citadel, Sanctuary of Emergence is more cohesive, distilling disparate elements into a unified composition. AI played a role in its inception, even influencing the title—generated through ChatGPT, which articulated my own intentions back to me in a way that felt both validating and illuminating. While AI serves as a tool for rapid ideation, my preference remains working from life, where materials and hands-on decisions shape the final work in ways technology cannot predict.

Reflecting on this project, I realise how much it embodies the themes of evolution and adaptation. It has pushed me to question my methods, embrace new materials, and refine my process. With the support of seam collective and the Arts Council England National Lottery Project Grant, I’ve had the freedom to experiment on a deeper level. Moving forward, I see this work as a foundation for further explorations—integrating sustainability, digital tools, and traditional craftsmanship in a way that continues to challenge and inspire my practice.