Exploratory Research and Praxis
Art is not just a profession – it’s a way of seeing the world, asking questions, and sharing emotions.
I want my art to carry a personal story or a social commentary.
Conceptual art is not just aesthetics – it's a message
This page documents my journey through the Exploratory Research & Praxis module.
It is written in a form of visual reflective diary.
I have chosen to work through an autoethnographic method of research.
Autoethnography is an approach to research and writing, that seeks to describe and systematically analyse personal experience in order to understand cultural experience... A researcher uses tenets of autobiography and ethnography to do and write autoethnography. Thus, as a method, autoethnography is both process and product. (Adams, Bochner & Ellis, 2011)
The way I experience my surroundings is central to how I understand them, and this lived experience naturally becomes an inspiration within my practice. Rather than trying to control every stage of the process, I want to allow myself to be taken on a journey of discovery.
I recognise that this approach may not always feel productive or lead to a clear outcome. Some experiments may fail, and some lines of inquiry may not produce answers. I am learning to accept this uncertainty as part of the process rather than something to avoid.
As part of this module, I will try to find a live brief to respond to. If a suitable brief does not emerge, I will create short projects—around three weeks each—to keep my exploration active and my research evolving.
This introduction marks the beginning of a process that is open, responsive, and grounded in my own experience.
I didn't set out to have any final outcomes, however each time I have moved onto the next project, i have created a closing chapter.
Almost like a confirmation this is ended, I can move on.
'Seaweed' Wool and hazel
This textile, being actual woven piece of art, was first completed work in this module. A conclusion to seaweed and microplastic experiments and exploration.
I came to a conclusion, the woven nature of my experiments, the long lasting and ever-presence of microplastics is more of a symbolic nature, and will become a narrating concept rather than a focus.
what I will take forward from this work:
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wool and its roughnesses and tactility
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limited colour pallet
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woven and weaving
"Timeline" Cotton and wool
It represents the feeling of time as it accumulates, representing my life in the Czech Republic and my life in the UK.
Yet as these are two separate timelines, they are also two interwoven durations, each shaping my sense of self and belonging.This experiment set to create a conversation about physical manifestation of the life I have lived, the life I am living, and the subtle differences within each past and present.
I set myself to find a competition of a call for artists. I have completed The Timeline piece for a deadline submission for Fringe Arts Bath.
artists statement:
When will an immigrant stop being an immigrant? When are immigrants allowed to call our new country home. Will we ever belong?
I want to create a conversation. Every day I get asked if I miss home. Even after 21 years.
Timeline is a conceptual textile. A visual representation of the 43 years of my life.
I am an immigrant to the United Kingdom. I have made this country my home for the past 21 years. Next year will mark a milestone. I will be living in the UK longer than I have ever lived in my birth country.
43 pieces of calico, each embroidered with 52 strands of coarse Welsh wool—one for every week—its repeated structure mirroring the cyclical nature of time. Subtle variations disrupt the uniformity, revealing lived differences within apparent sameness. Assembled into two lines, the years of my life lived in my birth country of Czech Republic and the years lived in the UK, my new home.
By using rudimentary materials, such as calico, and wool, I tried to reach into the core space of existence.
The safe space we are creating for ourselves.
HOME.