Design ideas for Part 5

I made a couple of energy paintings today and was going to have a go at free-machine embroidering the suprasemic text. However, once they’ve dried I’m really disappointed with the colours. They’ve gone flat and lost all real pigmentation. I don’t know why this is. It’s different paper and has more tooth, but there must be something else in, or not in, the paper that the brusho has reacted with in order to make a flat rather than jewel-like appearance.

I have been pondering these energy paintings: what are they? What do they want to be? If I experienced them in a different form what would they be? They recall the yarn-wraps of ATV and the wrapping of early in the MMT course. Could I be being pulled back to re-investigate the area that I struggled with at the time?

I’ve understood that I’m now sorting through to pick up some design features that I wish to explore further and in greater depth : this course is very heavy on process and sampling. Therefore, I’ve tried to consider what process to revisit.

I had great fun last night going through all the links my tutor has provided for me on all previous coursework in much greater depth. The Japanese artists of Part 2 are striking a chord at the moment but so is the work of artivists across the world. I was moved in reading about Judith Mason’s piece ‘The Blue Dress 1’ and its place as memorial and witness (see ‘Art and Upheaval’ by William Cleveland pp 127, 129). This made me wonder whether I need to consider the printed clothing I’ve been working on with the wounds – but then I feel I’ve explored that and any further would be repetition at this time: useful in itself but not necessarily the aim of this part.

I looked again at these energy prints. What do they want of me?

Last night I lay in bed listening to the torrential rain that I hoped would have, but hasn’t, brought an end to these 30 degree C + days that I am feeble with. The rain pelted and I wondered how you could freeze that in plaster – the moment the rain lands. What if it were on sand and left those rain hollows and ripples on the adjacent surface. Could you take a plaster cast of that? Would it make an interesting surface? I kept thinking of the piece ‘Animala Vagula’ by Cy Twombly where the “calligraphy” is like the asemic writing I’ve been considering but wherein he’s also cut the canvas – could the rain be writing cascading?

Then in the dark I became obsessed with Antoni Tapies ‘White and Orange’ a piece I had looked at briefly before but which was retained whole in my head. How did he get the sand on the plaster on the plywood? Could I make use of that technique? Could I explore this process – could this process be used to save the rain on the sand?

I even wondered whether I ought to give the collagraphs another go after the encouraging advice of Jennifer. I know that often the things I kick and scream against the most are the places where I get the greatest breakthroughs.

Like wrapping. It was as a result of feeling angered by wrapping that I painted how it felt. Which I then picked up with the 3d pen.

(See previous blog post:Sketching with the 3d pen; T1 : MMT; Pt2; Pj2 : drawing folio; and In response‚Ķ.) My current energy drawings are the offspring of this moment and the discovery of Henri Michaux’ asemic writing of the brain brought up within the lines of my sound pictures. Perhaps I need to work with these but look at them differently. Rather than experiments, perhaps they are preparatory drawings. but for what ? Which process? The wrapped Barbie doll – she would have felt like some of these. (T1: MMT: Pt2; Pj2: Ex 3).

There’s something here. The doll. That carrier of story. But I still want to make holes in things – to show spaces between. Then as research does, leaping about in zig-zags like a hare, I discovered and Australian artist: Sally Simpson and her latest pieces for Stanley Street Gallery, ‘Objects for an Unknown Future Museum’.  The ritual art, wrapped figurines with holes in their bellies and heads and tagged as reliquary, taxidermy art, tribal art.

I don’t know my tribe, but that doesn’t stop me establishing one and devising some wrapped forms that would be sacred to it!



‘Art and Upheaval’, William Cleveland, New Village Press,  CA. pp 127, 129