There is a strange transition period when boxing up work for submission. I have followed my tutor’s advice using simple boxes to present each part of the course and I have selected from the samples that she has seen – both successful sampling and works in progress and samples that were less successful, yet moved the learning forward in their own way.
In between times I’ve continued to explore using the asemic text and gestural marks, creating fabric with these marks then turning these into form – notably being influenced by the visit to the Wellcome Institue and seeing the dolls used as healing forms. This is an area of my own work that continues even as the course ebbs and flows around me.
Library of images show transition from paper doll form stuffed with polyester stuffing, to fabric forms stuffed with same stuffing in ‘stoney-faced’ doll and later stuffed with the remnant off-cuts from the fabric: ‘heart of glass’.
Sketchbook drawing has become a very much daily event, and this is a huge leap forward for me from where I was last year. I continue to explore how the paint moves, how it creates its own distinct marks, how it layers, how it responds to being splattered, poured, dripped and blown, how it writes with a glass dip pen, and the difference between the same colour in watercolour and acrylic – and further how these are with different papers and different size sketchbooks.
Other experiments include creating a simple, textile form of a flower…then adding the splatter and drip to see the impact on the ground and composition.
I continue to be curious about how to blend powerful inner topographical representations with subtler vehicles for conveyance. Subtle shock versus blunt impact!