I pulled out a pile of more and less conventional wrapping “threads” and materials.
Then I froze.
“There is no limit to the ways in which you can use your binding materials”, the OCA notes inform me. “Respond the to the shape of the object”. Yep.
My head was full of an end result of a group of objects in a theme. The particular work by Judith Scott I had looked at is more line, complex but quite drab in colour, while the other research focused on lots of colour and a general mass. I was thinking emotions and colour combinations. I was loading all this pre-thinking on an exercise that calls for playful response.
I stopped to capture all of the above in a draft post. Then put it to one side.
Deep breath, and just start wrapping. See what happens.
I chose a component with some interesting bumps and holes.
Wrapping began with a torn strip of green crystal organza. I used holes and notched edges to wrap a “flower” effect.
I wanted to highlight the knob, and used a red computer cable – again using holes in the object to place, catch and hold the “thread”.
I liked the open looping spiral, but it didn’t feel generous enough.
Some horsehair plastic threaded through holes adds a little drama and height. The bump of a gear wheel on the reverse side helps the object sit up on a slant, presenting the work to the viewer.
Next a piece of printer roller/feed, and an extra corner because I want to stand it up and get some height.
The two pieces stand together, joined by a simple wrapping of cable from the corner around the roller. As work progressed I gradually made a number of other joins to stabilize and strengthen the join.
There are lots of separated bits, so I decide to start with a series of upward spirals.
Pink bricklayers line, closely wrapped giving density of colour. The spacing responds to the shape and holes of the object – I find the variation pleasing.
Some green trimmer line gives a much more open curve and helps the piece claim more space around it. The interaction with the pink wrapping is good. The green might need to be removed temporarily as work progresses.
Yellow bricklayers line wraps up the other side. There’s also some orange line helping to stabilise the connection of the two parts.
I want to add something more substantial.
Puzzling over what to do, I added another vertical element, adjusting that orange tie that didn’t really fit.
I sliced a cd-rom cable into shreads, and looped it around. It doesn’t look like much at the moment.
Other reclaimed wires woven through create volume. I had to do some extra work to stabilise everything with the weight pulling forward.
It’s amazingly ugly, but I actually like it. I see the volume and the lines, and not so much the mess.
The back (new clarity of orientation) was looking empty and uncared for.
Some fringed strips of insect mesh woven through filled that.
I like it! Lots of colour, texture and volume. There are odd aspects, true, but it’s got character! It’s totally different in character to the original inspiration work of Judith Scott, and also to that of Hiromi Tango. I haven’t written about her work in the research for this section – information on an exhibition I visited last year was posted 30-October-2014. There was a profusion of objects and wrappings around the room and piled up in the centre. Hiromi clambered over and around, and sat cocooned in the mass as she spoke to us. Such a sensation of generosity and joy and layers of meaning and history. The hard metal and complex shapes and cables I am using as my objects are taking me on a different, sparser path. Although a different interpretation, I think there is still enough “wrapping” technique to meet the requirements of the exercise.
Next the inside of a power supply.
This looks so great and has so many wires already attached that it could be displayed as is. However that would push a bit too hard on the exercise requirements. The tricky thing will be to find something that enhances it and makes it more interesting.
On further investigation the underside is interesting too.
I took apart another power supply – just harvesting interesting parts. One piece of metal I used as a prop for my board. I also cleared off a few deteriorating batteries and bits and pieces from my object, to better display the finds and coils that first attracted me.
It seemed a natural choice to spiral the attached wires around the object like an inverted bowl. It would be wrapped in space as well as wire “threads”, continuing the idea of increasing volume.
I briefly tried using another thread as a weft, but felt it obscured the contents too much. Interweaving the wires themselves seemed a better fit, responding to all my base object offered. Not an experienced basket weaver, I found the process difficult. Creating a neat, or at least non-distracting finish defeated me. I did twining (?) first, using strips of organza to link back to the first sample. That still left a tangle of wires that cluttered the base. An attempt to weave in the ends based on an internet tutorial had mixed success. The wires looked likely to spring apart at any moment if I cut them shorter. I used waxed linen thread (a nice, obedient, strong thread) to whip around the edges to bind the base together. It hasn’t quite worked but it hasn’t quite fallen apart, so I’m calling it good enough for a sample, with some questions to be resolved in a finished work.
In my next sample I wanted to use a disk drive which has a lovely screw mechanism support, a part that moves up and down – perhaps I could keep that – plus a fan that still has traces of acrylic paint from the printing session.
Wanting to move away from the sparse, hard computer cables and braided nylon of earlier wrappings, I used the printed paper from the beginning of the exercise as my wrapping material.
To display the interesting interior I cut and tore through the paper.
I really like this effect. The wrapping acts as a frame to the piece. It’s good to make the connection of wrapping to unwrapping. Christo’s wrapped paintings are intriguing (18-July-2015), but I like the excited-tearing-of-gift-wrapping association, plus such a deliberate and self-conscious “mystery” feels a little forced.
Wrapping of the fan was minimal.
The two parts were joined simply, pushing a loop of cable from the tying on the wrapped package over the fan where it fits snugly, while a cable from the fan is jammed into an opening of the disk drive. The combination is satisfying, non-identical twins joined by their own cords. It creates a variation and a tension – why are these connected? is one taking power or information from the other? The space between them becomes important.
In what was going to be my final sample I played with the idea of inside-out – computer components and cables wrapping around the case, rather than inside.
I still wanted to make a sample with dense wrapping and colour mixing. I took a drive component very similar to p2-73, and started wrapping.
This was quick, fun, satisfying, and I really like the result.
The colours work well together, the lines are dynamic. The wrapping responds to the overall shape of the plate, but works around the knob without interacting with it. I rather like this as a contrast to all the other samples, which seemed acutely aware of and directed by the protrusions of the found objects. Here the wrapping is the star, the original object a vehicle to display it.
Following a comment from another student on social media, I tried grouping my objects as a collection.
I added a few inductors, gear wheels and springs on the table to break up the space and add an extra note. In a larger setting I’d like to experiment with a box of cables and parts lying discarded on the floor.
T1-MMT-P2-p2-e3 Uneven wrapping
Textiles 1 – Mixed Media for Textiles
Part 2: Joining and wrapping
Project 2: Wrapping
Exercise 3: Uneven wrapping