Rather than following the precise sequence suggested in the course notes, I’ve started this exercise by thinking of clusters and similarities in joins. My start-the-session sketching was reminding myself of works where the join with a gap is very loose, responding (or not) to gravity, the join itself a major feature.

Colour pencils on A3 cartridge paper
All the works drawn are on my pinterest page (link). Clockwise from top left, artists and direct links:
Sample p2-6

Sample p2-6 Top view
The result has energy and colour. I photographed it flat on the table, but also tried pinning it on the wall and it protruded and defied gravity in a pleasing way.

Sample p2-6 Detail view
There is too much detail and I don’t know where to look. I’d like to try for a better balance with some control or constraint. Looking back, Hesse’s work has the subtle grid of the boards and the clear divisions of boards and gap providing a structure and sense of order. My grid is effectively invisible against the white background, and simply colouring it probably wouldn’t help – I think it is too coarse and would only become yet more lines.
I didn’t intend the blobby attachment areas and have thought of a few ways to avoid them, but decided I quite like a bit of solidity or density with all those fine lines.
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The comments above were written when first looking at and photographing the result. The sample had too much information, too much complexity, nowhere to rest the eyes. I found it difficult.

Sample p2-6 Side view
A few hours later, writing this post, I see it differently. Pottering around the workroom the blobby attachment areas become the focus, with the lines above a lacework that changes in colour and shape as I move around. Static, there is too much and I can see nothing. Moving around, the base provides stability and interest with a haze of colour constantly shifting above. The result is bright, cheerful, lively, and the colour haze fascinating. I would like to find ways to reproduce that on different scales, and in a more permanent way. Unfortunately the actual join is light and brittle, and I’m sure with a sharp pull I could separated the two parts.
Sample p2-7
Wanting to make a feature of gravity, next I made three bundles of rayon machine embroidery threads, each bundle a different length. I used them together with thumbtacks to join two pieces of acrylic felt acoustic panel – a soft join between two rigid materials.

Sample p2-7a Straight join
A simple straight join shows the thread more lively than I anticipated.

Sample p2-7b Lower panel suspended
The lower panel is supported only by the threads.

Sample p2-7c angles panels
Angled panels and wider spacing looks like an ineffective trouser closing.

Sample p2-7c Detail
On closer look I am beginning to appreciate the liveliness of the threads.

Sample p2-7d Another uneven join
Another uneven join looks like a bizarre clown smile in the cropped photo. The three bundles are much more integrated here, creating a field of movement.

Sample p2-7e Intertwined
Some interaction, with the bundles crossing. It loses the individuality of the threads, getting more the smooth stream that I envisaged at the beginning. I like the geometry that’s beginning to appear.

Sample p2-7f Offset
Offset. The threads create lovely fluid shapes.

Sample p2-7g Plait – showing dimensionality
This started as a plait. The photograph was taken at an angle to capture the dimensional effect that is appearing.
There are lots of possibilities still to be explored here. I would like to try at a larger scale – number of threads, number of bundles, possibly size of thread (20/2 silk could make a beautiful show).
T1-MMT-P2-p1-e2 Joining straight edges with a gap – post 1
Textiles 1 – Mixed Media for Textiles
Part 2: Joining and wrapping
Project 1: Joining
Exercise 2: Joining straight edges with a gap