All the sketching work of Part 5 is now bound into a book ready to send for assessment. Before showing that I want to show the final few pages, not previously posted.At the top, manipulation of a photo inspired by Dryden Goodwin’s mould prints (http://www.drydengoodwin.com/mould_prints_2011.htm and http://www.drydengoodwin.com/Mould_2011.htm). At first look these seemed like plaster or perhaps clay masks, but they are actually photographs that have been pierced and torn and moulded to become three dimensional.
I wondered if this could be another way of presenting my photographs of objects – so many links to exercises in the course! The result wasn’t encouraging. I was working at small size and the vessels aren’t a common shape so there is no assist from the human visual system. The final straw was that my photo paper has the manufacturer’s name on the back – very distracting.
Below that is a printout of shape play. I’ve spent some time playing with photos to create simplified shapes, thinking of using them to experiment with compositions, or perhaps as stencils.Random jottings, including trying to get my head around time zone differences with various changes to and from summer time. This shows a photo printed on watercolour paper and put into the sketchbook. Above is the actual photo, using my simplified shapes and putting them into a space – Flinders Island. It’s very flat, the shapes sitting on top, as if a sheet of glass separates them from the environment. In another attempt I used actual photos of the vessels, most of them with opacity reduced trying to get them to fit in better. Not worth pursuing. I was taken by Briony Fer’s comments about Hans Arps use of line, so experimented making forms buckle with different scales of line. I was dissatisfied with the photographs I took of my vessels wrapped in brown paper (18-Mar-2016). One of many problems was the flat lighting, so I tried drawing on a printout of a photo to see if some highlights and shadows would improve matters. A great improvement, as is simplifying the floor and wall patterning. Definite lessons there.
The plan was always to bind my Part 5 sketch work into a book. I’ve tried to bring together a few ideas from the course.
Shapes on the front and back are based on samples in Part 5. I haven’t used paints or collage very much, and was intrigued by Briony Fer’s discussion of Jackson Pollock, in particular Cut Out and Shadows: Number 2. Contradictory patterns of drips of the paint surface and cut-out shapes lead to all sorts of considerations about representation, figuration, abstraction, the nature of painting…
Out of that complex academic treatment I extracted simple ideas of dribbling paint and collage.For the binding I used a packed cords technique from Exposed Spine Sewings by Keith Smith. I like the use of wrapping, travelling up the cords on the spine, and designed the spiky black attachment to echo the zigzag stitching on sample p5-4. One of the useful features of p5-4 is the plumes of black, which arch over space and link areas in my compositions. Here they arch across front and back of the book, sheltering sample p5-8.
I think the end result is attractive, appropriate, not particularly robust but sufficient for the journey ahead.
Fer, B. (1997) On abstract art New Haven and London: Yale University Press
Smith, K (1995) Exposed Spine Sewings: Non-adhesive binding volume III Rochester NY: Keith Smith Books.
T1-MMT-P5 Sketchbook completed
Textiles 1 – Mixed Media for Textiles
Part 5: A final piece