It’s been a while since the last sketchbook update (27-Feb-2016), although quite a few part pages have been shown with associated sampling/recording work.
The above page based on work by Eva Hesse appeared at the beginning of stage 6, when I reflected on the power of working with repetitive forms (6-Mar-2016). In the same post I showed this work planning some early composition ideas. Also in that post was the 3D pen sketch and the simulation of repeated forms. Not previously shown were some tablet-based sketches, done sitting beside a garden waiting for car repair. This and the next three pages were recording and thinking of potential developments to my collection photographs, and were shown when recording the original photos (6-Mar-2016). I realised that a lot of my attention was being given to the slabs used to provide height and thus precarious situations. Looking for possibilities led to Ursula von Rydingsvard’s work (http://www.ursulavonrydingsvard.net/). Above is a very inaccurate sketch based on a detail of Can’t Eat Black (link).
This helped me to identify my desire for layering with more depth and texture, a need met with broken tiles in concrete (12-Mar-2016).A page throwing around ideas.
Photographing pieces in moving water wasn’t attempted – the setup seemed too difficult and I was concerned about the risk to my equipment. However there was a brief experiment with black and white photography (12-Mar-2016) and considerably more with wrapping (18-Mar-2016).Sketches of p5-39 and p5-42 (12-Mar-2016) helped identify and extract some elements that pleased me. This and the next page were drawn after writing up the second photo shoot (12-Mar-2016) in preparation for the third (written up 15-Mar-2016). I actually took the pages out to the garage with me and referred to them as I was working. I mentioned ongoing research of Eva Hesse 6-Mar-2016. A couple of scattered quotes are in the sketchbook as reading continues. This passage linked to my black and white photographs, wondering if the elements of strong colour in my collection were unbalancing or dominating it.
The lower part was working on a photograph – p5-52 – as a way of thinking about what was working and what could be developed. That helped me work on plain paper, trying to extract what I was seeing. A bit more movement, some diagonals, in the main elements could ramp up this image.A step back, looking at the collection as a whole. This is based on a still from the video. In black conte crayon (see note on colour above), I enjoyed exploring the different shapes together. At the top is a collage planning the wrapping of my collection (see 18-Mar-2015), at the bottom one of the wrapped samples drawn in colour pencil.
In the middle is another quote about Hesse, this time about her “thinking about what an object might be”. That question is really engaging me at the moment.Playing around with biro and coloured pencil.
First I drew lines based on the threads wrapping some of the samples. Then I started colouring, with a vague recollection that only three colours are needed to colour a map with no colour the same on both sides of a border. I thought this simplification of the line drawing might reveal an unexpected pattern. It does create some order in what was a chaotic set of lines. This seems quite a good method for beginning an abstract design development, not unlike the design development for printing that I did with Claire Brach (31-Dec-2015).
T1-MMT-P5 Sketchbook update 20-Mar-2016
Textiles 1 – Mixed Media for Textiles
Part 5: A final piece
Sketchbook update 20-Mar-2016