Cosying up with a crimson canopy…
It’s been a dreich winter - too leaden, with far too few moments of apricity, don’t you think? Perhaps that’s why, creatively, I remain rooted in autumn. Rather than moving forward with my usually season-driven inspiration, I’m still developing work from my initial investigations into autumn leaves and canopies. I simply can’t get enough of the glowing reds and pinks, or the way light filters through them.
A Sweet Gum tree canopy from my annual autumn visit to Bressingham Gardens.
Although I study textile design, film has been central to my research, particularly the use of the moving image to capture dynamic light and subtle movement. I developed a digital “tree bath” and led an experimental drawing session in the university’s 360° lab, observing how immersion - even in digital nature - can positively impact wellbeing. There is a blog on the Norwich University of the Arts website about the session where you can read all about the restorative combination of technology, nature and drawing (photos below) - click here.
I also recently had a revelation in the university building known as Bank Plain. Originally the headquarters of Gurney & Co., it is a vast and imposing space; its monumental, masculine architecture reflects the bank’s former status as second only to the Bank of England. During an interdisciplinary workshop, we were challenged to create work that both responded to the building and acted against it. To me, the space lacks nature and textiles - there is nothing feminine here. Even the golden acanthus leaves crowning the pilasters exude dominance and strength through their stylised symmetry, historically associated with triumph and longevity.
My response was to offer an antidote: to soften, to feminise, and to bring natural forms inside. Dynamic light is central to biophilic design in interiors, so I collaborated with the wonderful MA Film course leader, Roter Su, to explore how my modest iPhone films of “pretty in pink” autumn acer canopies might inhabit the space. Initially, I planned to project the films onto fabric draped throughout the building. Instead, I wondered what might happen if I filmed the projections on fabric, and then projected the resulting films back onto the architecture.
Much fun followed. I created a small setup of sheer textiles, introducing movement by gently fanning the drapes while filming the results. The outcome was unexpectedly three-dimensional and immersive - so much so that one of my tutors quite literally disappeared into the folds of fabric, happily enclosed in movement and nature - he was there for some time!
I bloody love art school—the freedom to play, to experiment, and to arrive at outcomes rich with potential. This work will be developed further through projection mapping to refine form, and more considered filming within a studio environment. Together, this will form the basis of my contribution to the Interim Exhibition at the Shoe Factory in Norwich this March. The exhibition offers MA creatives a space to present work in progress as we embark on our final projects - an opportunity to test iterations and share research with an audience. Exciting, but daunting too; it feels vulnerable to show work that isn’t yet “finished”. The exhibition is at the Shoe Factory, St Mary’s Plain, Norwich NR3 3AF with the exhibition is open daily from Wednesday 4th - Sunday 8th March.
Alongside the film installation, I plan to present samples of fabrics designed from the autumnal canopies. Some of these will be available to order and will form part of my first offering as I establish my surface pattern label, Lucie Bloom. So, watch this space to see how the brand flourishes - after all, flourish is the word I’m choosing to live and work by in 2026. Below are some of my textile autumnal explorations in progress.
