Experimentation

I’m trying to be more spontaneous and visual, instead of my comfort zone of planning and words. However this experiment did start with words, from my current reading, where Glenn Adamson links Marcel Duchamp’s 3 Standard Stoppages to “the drooping, coiling, spilling, and curling forms of Hesse, Morris, Zeisler, Hicks, and their peers” (Adamson, 2014, p. 148).

That led me to the MOMA website (http://www.moma.org/collection/object.php?object_id=78990) and Duchamp’s work exploring gravity and the indeterminate nature of things, including a “fixed” measurement which wasn’t so fixed. He allowed a metre-long thread to fall and captured the resulting “metres” as profiles in wood.

I decided to see what lines I could capture, comparing two different threads and a series of drops, traced in different colours as a time series. The final time was the thread itself, coated in glue and pressed down where it dropped. Both experiments were on A3 cartridge paper, with a thread twice as long as the paper was wide, tracings done in wax pencil.

sketch_20141214a
The first experiment was with a heavy linen rug warp. It had a strong memory from sitting on the cob and was determined to curl – except when covered in glue which relaxed it.
sketch_20141214b
Second time round I used a light cotton warp yarn, suitable for a small, fine tapestry. This was much more draping and produced much more variety and looseness in the line created.

  • The linen thread in particular was tricky because it insisted on introducing a third dimension – it was very springy and didn’t fall flat on the page.
  • The linen’s tendency to coil created more compact forms, and more similarity between drops.
  • Tracing a thread without moving it is difficult.
  • This would be a good way to create a meandering line, say to stitch along. You wouldn’t have to use the same thread in both dropping and stitching, so could pre-determine the nature of the line to an extent by your choice of drop-thread.
  • Isolated areas of the tracings could provide interesting shapes.
  • I’d like to try dropping other things. Paint, ink from a dripper. Now it’s sounding a bit Jackson Pollock, which I think is quite counter to Adamson’s discussion about gravity and allowing something to move as it pleases.
  • I’ve enjoyed the experiment, but I don’t think I’m ready to move too far from words.

    References
    Adamson, G. (2014) “Soft Power” in Porter, J. (ed.) Fiber: Sculpture 1960 – Present DelMonico Prestel

    Leave a Reply

    Fill in your details below or click an icon to log in:

    WordPress.com Logo

    You are commenting using your WordPress.com account. Log Out / Change )

    Twitter picture

    You are commenting using your Twitter account. Log Out / Change )

    Facebook photo

    You are commenting using your Facebook account. Log Out / Change )

    Google+ photo

    You are commenting using your Google+ account. Log Out / Change )

    Connecting to %s




    Instagram

    Fabulous figure sculpting workshop with Kassandra Bossell!

    Calendar of Posts

    December 2014
    M T W T F S S
    « Nov   Jan »
    1234567
    891011121314
    15161718192021
    22232425262728
    293031  

    Archives

    Categories


    %d bloggers like this: