Sample making, researching and sketchbook.
I have found it really hard, the further I get into this project, to separate wrapping and joining. But, I persevere. To help me in my mission I have made a concerted effort to look at my research and see what I can glean from this to inform my making in a very conscious and overt manner.
I have tried to see the joining of curved edges in a 3 dimensional way. i have seen curves as lines and solid forms, the parabola of a shape as well as the surface of a cylinder. I have worried that this is taking me away from the advice of the notes, but my research has been so exhilarating that I feel to use the adage as though ‘I am standing on the shoulder of giants’ with my current focus of research.
I’ve tried to include selected images from all the artists I am researching in my sketchbook to avoid any concern with copyright. This is an interesting way of working and I hope it continues to give the feel of a visual diary to my sketchbook.
With some daylight and sunshine I was able to take some sharper shots of the sample I created previously. I am interested at the end of the day to find that when I’ve researched Megan Singleton she has created similar forms out of pulp – how she created stability for this I have yet to discover – but I seem to be unearthing so many artworks that use pulp or paperclay.
I am still undecided where to take this form, but as it stand I shall leave it as a sample and allow any further potential to reveal itself without being forced.
Ex 3: sample 5
I’d been thinking of convex and concave curves, bookbinding as methods of joining, and the twists and turns as joining devices in stories themselves. I looked in my Penland book and was taken by the work of Denise Carbone. So, I tried to imitate her binding to feel what it was like to be creating as she does – I omitted the paper signatures and instead inserted a curl of raffia. The gentle colours surprisingly pleased me and I liked the contrast of textures and directions. The inside of the ‘book’ holds some kind of coded message with the back of the stitch and the raffia wire – it looks like the terminal of some kind of communications junction. This is a concept that certainly has room for investigation – olf telephone exchanges, terminals, crossed wires…
I looked at the rules for my daughter’s sketchbook as she did her homework:
Then I counted up how many rules I was breaking in my own (that’ll be nos: 1,2,3,4,5,6,7,8,9,10,11,12 oh and possibly 13…that makes all of them – feeling good!!)
Anyhow, I really liked the raffia and paper combination and played with this further creating after looking at the work of Pippa Andrews and experimenting with paper beads in a number of materials. The resulting sample is:
Ex3 sample 6:
I joined the raffia with a technique that was reminiscent of making daisy chains and daisy caterpillars where you split the grass and thread the next stem through. This felt very therapeutic. this would be something that I could see explored in a far greater scale – not just linking in a line but linking above and below – increasing multi-directionally.
Those wraps just want to get on the scene. After looking at a piece of work that struck a chord: ‘Here there were trees’ I used the burlap, darning thread and toilet roll tube to create my own tree stump. I was just curious…
Back to the exercise – I’d found quite a grim content book in my reserach and stored it in my sketchbook – it was a book that had as its embellishment toe nail clippings. I looked at the offcuts from yesterday’s lozenges and pondered…
To round up the day I looked with considerable detail at Pippa Andrew’s work ‘Angelica’. Isn’t that the green sugar strips you used to get for cakes? I found corrugated card and cut out circle, then cut strips removing the top surface to reveal the corrugations then used my raffia as thread for beading these elements together in repeating triangles. The whole process reminded me of threading pasta necklaces with my children when they were little. It was quite an alien feeling – something very clunky and childlike that created fascinating forms and shapes to be photographed.
Ready to move on to layering. Still have questions with curved edges and think this is a healthy way to leave it as I can easily pick up the trail. For example, what happens if I add my colours, what happens if I use translucent materials, what happens if I use heavy materials e.g. welded steel and linked these with lacy crochet, what happens if I create these forms on such a scale that people walk through and over and under and in them?