Is this it? Is this my final piece?
It’s been evolving today. I’m not sure whether I’m doing it in a purist way to satisfy the discrete parts of the course, but it is evolving. I do a bit. Change a bit, stick with a bit and move forward.
I found the mattress springs and a rusty nail and wrapped them together with thread and different gauge steel wire and copper wire. I found three tiny black cable ties that I used to represent the black swash of ink from the soundpainting I was using as a source.
The oddest inspiration today. I was sitting contemplating how to move the sampling forward and as I was doing so I was watching a roly-poly (pea bug/pill bug/ cheesey bug/ woodlouse!). It sent me off on a bit of a wild goose chase which I noted in my journal. I kept trying to hunt deeper and deeper for something that would spark an idea. In the end I pursued the notion of the Armadillidion type having the ability to roll up and explored making a shield for the energy sculpture. I wrestled with how to create this covering that could open flat and close in a circle and tested ideas.
In the end I settled on a segmented form which I then disassembled and constructed out of the old ohp sheets.
This created some reflection but didn’t correspond to the effect of the acetate sheet siply being a cylinder. I therefore scrapped this idea and went back to the cylinder which I enclosed in another cylinder of khadi paper having learnt from previous samples that this provided the reflections and distortions that interested me.
I loved how this worked when I held it up to the light. How the lines and light re-energised the form. I was also really pleased with how the sculpture still retained the look of the original sketch and still felt like the music that I was originally listening to when I created the sketch.
To work this piece needs light but also needs shielding. This speaks to me on a number of levels. It needs the protective layer of the khadi, but it needs the acetate inner layer to reveal its energy. The asemic layer of the nail, mattress spring, wire and thread offer the gestural response to the psytrance music. Yet, to reveal itself fully the kaleidoscope has to be held up to the sky, but even doing this it picks up the greens of the garden and the oranges of the wall. I solved this inner reflection of outer entities by cutting a circle of translucent very thick paper like tracing paper (it was a donation and it comes on a huge roll and has pencil tracings on it- it is some kind of setting or layout planning paper). now only the light can get inside…if only life could be like this … we could put on some kind of filter that stops all of the external world creating a distorted reflection or colour overlay within us.
This now feels complete. Do I push it further? Do I just deliberate about what I would do – create it on a giant scale using welding and pipes for upscaling the form? Do I contain it within a box cutting a hole for the audience to peep into is and reveal the kaleidoscope? Do I make a series? Or do I leave this be here and just develop it for myself?
It’s a funny junction I’m at. The course provides me with direction, stimulation, challenge and questions – yet the work I’m now producing has set its own enquiry which is equally arresting yet disparate to the demands of the course. It’s like a new language I suppose. The course is the Mother Tongue which I mustn’t abandon too soon else I’ll have no coathanger for the new language; yet the new language is from within, it is not learnt. It has a feeling of being RE-covered rather than being dis-covered.