My latest drawings: What is the nature of a multivalent place?
My latest drawings: What is the nature of a multivalent place?
Our first group crit of the second year! Fascinating to see the difference between now and a year ago: everyone sounds so much more certain, more involved and simply more excited about their work and their plans for the future. If you look at the members of the class who haven’t done as much development (perhaps through simply not making or testing enough ideas) you can’t help but feel for them – seeing a frustration and a confusion that we’ve felt all year but have finally started to leave behind.
I went into the session still harbouring my A v B quandary and wondering how to combine or choose between the two ideas. First off I presented my (Experiment A) corn circle and the accompanying photos to the group. Responses:
We then went on to discuss a few other general ideas. The main points I noted were:
Well first off, I followed the suggestions of the group (incl. Maiko) of trying my corn dolly weave with my maps. This was incredibly fun and satisfying to do – and much to my surprise gives an incredibly robust structure. I didn’t risk standing on it, but you could probably rest a brick on it at least.
I have been thinking over my options for a week or so now, but after making & thinking today a giant lightbulb clicked on somewhere in my head. This lightbulb combines my current direction with some of the very BIG early concepts I had back last year but couldn’t deal with at the time; however, it is also focussed enough to be achievable – at least I think so!!
More to come in a future post, I need to rewrite my project proposal first, but…..I think I may have found the project for the final show…..!!!
Following on from my discussion with Shane a couple of weeks back, I have done my first test of an ‘ephemeral’ temporary sculpture out on site (I wouldn’t really call it site-responsive as such). Since I made the weaving it hasn’t stopped raining / drizzling, so have been a bit delayed in getting out to take some shots. Interesting results in the end though.
But where do I take the photos? Somewhere “meaningful” or somewhere random? Does this make a difference to the viewer? If I don’t tell you (dear blog readers) where these photos were taken, does it matter? What do they say to you?
I’ve been testing out the method for properly preparing my dried white willow and seeing how well I can manipulate it – initially using the same pattern as I did for the last ‘desire line’ experiment. It has taken a few attempts to test the soaking and mellowing times, and I’m still not able to get the simple weaves done without some stems breaking. Not sure what (whether my skills or the dryness of the wood) is causing this yet. It is also really hard to get the new weavers in neatly unlike the invisible joining you can achieve with straw.
Some pics of the latest tests are below – you can see clearly where some of the weavers have snapped mid-bend.
My initial reaction is mixed: firstly, I really like working with the willow. There is something mysterious and elegant about it as a wood which I really enjoy. However, with the spiral braiding, I am really not sure what this offers that the wheat straw doesn’t already. I wonder if doing a modern corn dolly plait works better for me with the corn itself. This said, I will continue to try some different forms using the willow. Perhaps something more suited to it as a material. Also, I have a whole bundle of steamed willow as well, so that’s something else to have a look at too.
This all brings me back to my current ‘challenge’ which is to try to understand other sources of inspiration for forms. I did try something based on a new idea which has been floating about my head, that of interlocking identities through interlocking repeated forms. This was an initial 3d sketch (for lack of a better description). Is there something to work with here?
After a couple of days of weaving the ideas I had got into calligraphy drawings directly into corn, I have now completed a finished test piece! This is the first piece so far that has been properly made with my project concept embedded into both the material and the form. The basket I did for the interim show was communicative materially (even if using maps was a literal interpretation of place), however I made a ‘basket’ shape (a bowl in other words) for lack of any other ideas.
I have to say I am very pleased with how this has come out – I am happy with that it has come out the way I intended. I didn’t pre-plan the exact structure, only the principles I wanted to express in the form, letting serendipity and the nature of the straws guide the way the weaving progressed. I think it may be nice hung in mid-air, but lacking the facilities to do that in my home studio, this is the piece on the wall.
With the bits of test corn weaving I have been doing, I had an idea about combining them together into a sculptural piece. I came up with a mock up construction using the three pieces of weaving.
Now I want to try to make a coherent, well-finished sample – and not just shove things together, so I thought I would take some more time to see how I want the form to look. I had been doing some line sketches in my note book based on the idea behind this piece (now under the title Desire Line). This is based on the idea of the local path (our individual movements) as an echo of a larger, deeper human drive and ‘universal path’. I got thinking about how in my head I see this as a overlay of different paths (past, present and future) all condensing into a single moment as we pass along the way.
So, some more considered drawings:
I think what I need to do is ensure the finished piece is all one continuous, connected flow of weaving – it needs to be one path and many paths at the same time. (Not in other words, made by winding the pieces round each other and hoping no-one moves it). I will need do some tests on how to combine the different weaves together – as interlocking or intersecting – before moving on.
Pleased with my thought process so far though, I definitely have taken Sandya’s farewell words to heart: OWN IT, FOCUS, BELIEVE, LEAD YOUR OWN PROJECT
Autumn is setting now and the sunny days are turning more frequently to rain, the long evenings into longer nights. It seems perfectly appropriate to be working with the raw materials of this summer’s harvest in making experiments capturing a place and moment in time.
After my first set of weaving experiments with the beautiful Maris Widgeon wheat, I decided there was enough potential in the material to do more. The wheat is grown and harvested in Staffordshire using traditional methods using no artificial fertilisers. The wheat is sown during the first week of October and is cut in late July, around 2 weeks before it is fully ripe, while there is still a hint of green in the stem, and the ears are erect. The sheaves are air dried by hanging them upside down.
For the next set of experiments I wanted to continue to test different traditional weaves but apply them in different ways. First was a number of traditional plaited weaves: a 7-strand flat braid and a compass plait.
I plan to make a few more strips of this nature and then experiment with pulling them together into a form inspired by the pictures in my last post and my current favourite quotation:
“Where people live is both local and universal, both particular to the individual and particular to everyone…the path…is both a very particular place…and also a universal path, like all other paths”
(Malpas 2007, p78)
I also wanted to start making the finish a bit more shiny, to make sure the experiments move from samples to ‘finished’ test pieces. I know this is going to be increasingly important as we inch closer to the assessment and Unit 2. This next weave was a repeat of the 5-strand spiral plait I did a few weeks ago with more care taken with the finish. I will take this and form it into a more complete piece once it has dried fully.
Liking this material. Curious as to how mixing corn with the steel cables would be.