Wednesday, 21 January 2009

current thoughts

I have been thinking about colour. Looking at my studio, everything feels a bit dead. They all merge together with the pale, fleshy tones. It is not so uplifting. Whether I want my work to be 'uplifting' or not, I dont know. I have the possibility of being given old climbing ropes, which are coloured. Initially I was not interested, but am beginning to think that I cannot afford to be fussy, and why am I so stubbornly ruling out colour?
Painting covers up the surface of the materials used, which seems like hiding something. A sense of shame. It denies the material's qualities and seems a strange thing to do. But dont knock it till you've tried it.
Additionally, I am still digging holes in my mind. Why is art important? It's a question that doesn't lead very far, but I feel that it is a question that you should be able to answer for yourself if you are to spend your life doing it. Otherwise there is no sense. No one wants to live without a reason or meaning. Art provokes thought. It is an escape from reality and is a way of dealing with reality. It's enjoyable and engages other senses than reading and discussing. Prehaps we need art in our culture to give a representation of the imagination and the desire for beauty and enjoyment that so much of our culture denies us. Despite being able to give a few possible justifications, I am consistently running these concepts through my head to convince myself.
But I do love Art and want to spend the rest of my life doing it and being involved in it. And it's that pleasure that doesnt seem like a valid reason for it. Maybe I am wrong. Love for something is a good enough reason as any.

New processes

(Fabric and plaster on rope)

The papier-mache process is slow, painstakingly monotonous. It is simple, non-toxic and cheap. But I feel that for the moment I have got to a point that I need to experiment with other layering methods. Using old scraps of canvas (or any thick fabric that I have got my hands on) and dipping it into plaster, I have followed the papier-mache layering method, yet obtained fully textured and faster results.

I am now working of a multiple of smaller forms using this process. They do not use the height of the space as the branch forms did, however, I do not want to limit myself to the consideration of the space with each piece. I need to maintain an experimental thought process where I do not limit myself with considerations, such as particular processes, the space or a pre-concievied idea of the form.
(Canvas and plaster on wire)

Wednesday, 14 January 2009

Scenic studio view


A test with a completed "branch" worked well. I dont want them touching the floor, but the length works well with the thickness. As a unit of 3 they may work better. The most recent is the best. It is thick and hovers only a cm above the ground.

I have begun a new method of using material instead of newspaper, and plaster instead of the papier-mache mixture. It is a quicker method that produces more textured results. Pleased so far.