Archive for the 'Projects' Category

Experimentation: unbalanced – 2

Einstein wrote “Life is like riding a bicycle. To keep your balance, you must keep moving.” (well, according to one website the original was in a letter in German, and there are a few different translations around)

It fits with what I saw of gymnasts recovering balance (3-Jan-2019). Maybe I could fluff it into some “deep and meaningful” statement, but let’s not.

Back to the 30 day challenge. What does unbalanced/precarious/… look like?

Day 10
A classic approach, with basic geometric shapes and primary colours. Can I fool the eye / expectation by mixing materials to play against size | weight expectations?

Day 10


The dark blue was a poor choice for the small but heavy round fishing weight. I didn’t anticipate the impact of the line of the cardboard (used to block the distracting background). It adds to the feeling that the right side is sloped down, heavier.

Day 10 – in motion

It was actually really difficult to get this to balance long enough to take a photo, even with some tactical use of bluetac. An upset in motion provides a more dynamic photo.

Workbook day 10

I also tried a couple of drawings to see if I could get something more interesting to happen. Not convincing.

Day 11
This version was easier to photograph, as it was actually quite stable.

Day 11

A slight change in the cropping of the photo makes it a little more dynamic.

Re-cropped photo

The blue disc is no longer centered, reducing the sense of balance, plus the full shadow seems to be reaching up and almost pulling the tip down.

Day 12

Day 12

More balancing of simple shapes. The large egg, possibly fragile (actually rubbery) and the small disc. Yawn.

Unbalanced!

This was another difficult one to photograph, as it wasn’t very balanced. The failure is more interesting.

On reflection I realised my theme is meant to be un-balanced. The last few days were way too literal and way too static.

Day 13
Reading about Yayoi Kusama in Part Object Part Sculpture. A couple of snippets: “One is lost in a sea of apperceptions, as haptic and optic no longer seem demonstrably different from each other.” “… allows one, how counter-intuitively, to lose one’s boundaries …”.

This had me thinking about the loss of balance as one disperses in the seriality and repetition of the environments created. Which led to consideration of precipice/unbalanced/danger as a loss of orientation. Which led to Tony Tuckson, the sublime, Rothko – work which fills the vision, which I sway in front of. The shimmering movement. Leading to the shimmers and distortions and teasing gaps in the vision before a migraine. Which does actually circle round to danger and loss of balance.

Day 9

Having got this far, I noticed the reflections on the little corrugated piece on an earlier experiment. With movement or lighting changes or a bit of breeze that could give a shimmer.

Kitchen foil, folded and corrugated

Some kitchen foil, folded to fit through the little corrugating press.

It was then carefully unfolded. The result was firmer when forming a new shape (those clever corrugations!). The changes in direction caused by the different folds create points of interest.

Unfolded. Corrugation tool in background

Tried some more complex pre-folding, to get more changes of direction.

Just pressed, then opened

Day 8’s experiment was used as a stand.

Potential for lighting effects.


The photo looks rather static. Close cropping doesn’t help. With some extra shimmer from a breeze and some thoughtful, maybe flickering lighting, this has potential.

Could using it in a mobile increase the flickering I was thinking of? I made some more pieces of corrugated foil and put them on an early mobile conveniently hanging nearby (see 26-Dec-2017). A lazy photo gives a blurred indication of the result.

Sorry about the blur!


Plus: The foil is light and the large surface area collects any air movement going. This mobile is constantly on the move.
Con: Mobiles are all about balance, not un-balance. This version floats gently in space.
Possibilities: More complexity. A wider space, more pieces flashing and flickering past each other. Random puffs of air from the ceiling, creating a bit more vertical as well as rotational movement. Complementary (strobe?) lighting. Add colour to try to get reflections.
Also: Take a look at stabiles. My attempt 9-Sep-2017 has a gawky, ungainly, risky looking movement to it.

Slight variation:

Left side corrugated twice

The foil on the left above went through the corrugation process twice, unfolded and refolded between times. The surface is a bit less regular, the reflections broken up a bit. A small change, but could be a nice refinement.

Day 14
Thinking about loss of balance, I attempted to give an idea of a spinning top losing speed and balance over time. The sequence or passage of time is indicated by scale and intensity of colour.

Day 14 – first version on the left; with addition of “shadows” on the right

The “shadows” added later provide a lot of information to the eye. The whole thing doesn’t quite make sense, there isn’t enough variation and plausible change, but somehow I accept it.

Day 15
A reo-wire figure was quickly put together, with a total disregard for actual body proportions. It allowed some quick and easy posing with fishing line and blu-tac.

There’s a lot of cricket on TV at the moment, hence a “catch” as the first pose.

Day 15

I like that the shapes formed aren’t necessarily physically possible with muscles, tendons, etc. I’m definitely interested in the lines and proportions of the human body, suggested but incomplete or not quite right. Our minds put a lot of work into interpretation as something well known.

Day 16
An actual photo of an amazing catch was the basis for this outline.

Catch!

Given foreshortening the proportions seem a little out. Note again the impact of shadow, assisting interpretation.

“Real” proportions

This wireframe plan was based on a photo, still and full frontal, so at least in theory should be close to “real” proportions. I wonder how much variation there is in practice.

This week I’m going to summer school, Anatomy for Life Drawing. Hoping it will provide lots of relevant inspiration.

Research: Unbalanced, Precarious

3-Jan-2019 presented my brief-to-self exploring the pivot / balance point / precipice / knife edge / danger / unbalance idea. I wanted to actively explore what “unbalance” (etc) can look like, and showed the first nine days of experimentation.

In tandem with this I’ve done some more concentrated research:
* a couple of hours at AGNSW, searching for relevant examples;
* some internet searching;
* a review of this blog to find work that has caught my eye in the past.

Art Gallery of NSW
At first it seemed surprisingly difficult to find examples that fit the investigation. But of course most artists want to keep your eyes on the work. Even if dynamic, with lots of movements, diagonals, etc, paintings generally resolve with some form of balance.

Matthew Smith
Jugs against vermillion background

I’ve seen this before. For example Matthew Smith’s work Jugs against vermillion background. 31-Jan-2014 I wrote “The most surprising thing in viewing this picture is the balance. There is so much information and action on the right, and on the left… I’m not sure how well it shows in the photograph, but that red on the right is so intense, so solid, while the red on the right hand side is just a bit darker, not quite so saturated – and it works.” All the action is on the right, there’s even half a body sliding diagonally down off the frame, but my eye doesn’t go with it. The space and the intense colour on the left provides balance.

Charles Meere
Atalanta’s eclipse
1938

In the painting by Meere above, the two racing figures are unbalanced. The painting as a whole is dead steady.

Robert Klippel
No 102 Metal construction (1961)

Robert Klippel
Left: No 48 Entities suspended from a detector (1948)
Right: No 35 Madame Sophie Sesostoris (1947-48)

Last post I showed some small sculptures by Robert Klippel. Those were from 1995. A much larger metal construction made in 1961 is a complex and fascinating form, with lots of unexpected projections and unlikely balance in the detail, but overall staying steady and firmly in place.

The earlier suspended entities has a very sturdy upright, well able to support the small elements hanging from it.

William Kentridge
Bird catching (2006)

This print by Willian Kentridge, aquatint and drypoint on paper, is more relevant. The figure is definitely falling, one foot not even visible, the other foot outside the internal frame, and although it seems likely the body will fall within the space of the print it doesn’t look like anything can stop the tumble.

I took a couple more photos of different things, but on review they’re not convincing.

Internet search
This was more successful, especially when I changed the significant search term from “unbalanced” to “precarious”. Results have been collected on a new pinterest board – https://www.pinterest.com.au/fibresofbeing/unbalance/

Blog review
A scan through photos previously shown on this blog produced some more examples.

MoMA at NGV 15-Sep-2018

Umberto Boccioni
Unique Forms of Continuity in Space
1913 (cast 1931)

Seeing the work itself, appreciating the scale, was important. This work has movement, but not the sense of potential loss of control. It is striding confidently.

Aleksandr Rodchenko
Non-Objective Painting
1919

I found movement and depth in Rodchenko’s work, but I wouldn’t say it’s in imminent danger.

National Gallery of Victoria

François-Raoul Larche
Loïe Fuller, the dancer
c. 1900

15-Sep-2018
This lamp base has movement, with the additional sense that it wouldn’t be possible to hold the pose for any length of time. In a beautiful and elegant way, it is unbalanced. And I note here a resistance in myself – elegance, the controlled movement, lessens the sense of the precarious.

13 Rooms exhibition – 13-Apr-2013

Coexisting Clark and Beaumont

Nicole Beaumont and Sarah Clark occupied a plinth together – eight hours a day for the eleven days of the exhibition. A sequence of movement for one to stand up seemed particularly perilous.

In Just a Blink of an Eye
Xu Zhen

Xu Zhen’s work is a suspended moment. Entirely beyond precarious, yet motionless.

Art History annotation 23-May-2014

The Townley Discobolus
One of several Roman copies made of a lost bronze original made in the 5th century BC by the sculptor Myron.
© The Trustees of the British Museum

The moment before an explosive release of energy, however I found the work strangely static.

Paul Landowski
David combattant
bronze, cire perdu (lost wax)
http://www.artgallery.nsw.gov.au/collection/works/SO1.1961/

I showed for comparison a David actually in action here in Sydney. The figure is focused, committed. Action regardless of consequences.

Matt Bromhead Longline exhibition at pompom 22-Jul-2018

Matt Bromhead

Seeing Matt’s work and taking a workshop with him (10-Jul-2018) are a major drivers of this exploration project.

ARTEXPRESS 2018 exhibition 18-Feb-2018

How Irrigating
Hannah Raeside

There are better photos on the AGNSW website – https://www.artgallery.nsw.gov.au/insideartexpress/2018/hannah_raeside/. Not quite what I’m looking for, but some very interesting elements – both for balance, and for use of (I’m guessing) concrete.

Sculpture at Scenic World 2016 exhibition 1-May-2016

Elyssa Sykes-Smith

This suspended work by Elyssa Sykes-Smith has bodies reaching, stretching, impossibly.

Her work in Sculpture by the Sea 2013 (3-Nov-2013) shows what appear at first glance more static figures. Quickly the strain of the figures, the weight of stone, give a sense of impending doom.

a shared weight
Elyssa Sykes-Smith

Sculpture by the Sea 2016 6-Nov-2016

Johannes Pannekoek
Change ahead

Is this unbalanced or precarious? I suppose the answer is “yes”, but it is so massive it seems stable. There’s also that sense of elegance in the movement, a confidence that seems to dilute what I’m seeking.

Tom Bass Annual Studio Exhibition 2-Oct-2016

Margo Hoekstra
Joy

Centered, but precarious.

Lisa Reidy
Meme

This doesn’t really fit my current brief, yet feels somehow relevant. An echo of Louise Bourgeois’s Personages? Arms outstretched, striving for balance?

20th Biennale of Sydney 3-Apr-2016

Nina Beier
Installation view

Another “maybe” example. Clearly there is something clever done to suspend the mugs, but the end impression isn’t one of danger or movement.

Art History research – Gillian Lowndes 26-Feb-2016

Gillian Lowndes
Cup on Base
© Victoria and Albert Museum, London.

Another seminal work for me. So exciting.

The mug is broken. There has already been a collapse, and another is moments away.

MMT research at AGNSW 30-Jan-2016

Fiona Hall Slash and Burn

Definitely dangerous. Menacing.

Art History assignment 9-Dec-2013

Dancer looking at the sole of her right foot
Edgar Degas
bronze, cire perdu (lost wax) 1900-1910 cast 1919-1921

Macquarie University Sculpture Garden 26-Jun-2016

Errol B Davis
Springfire
1990

Experimentation: unbalanced

1-Jan-2019 included a dot point about ongoing research on the pivot / balance point / precipice / knife edge / danger / unbalance idea. 4-Aug-2018 has more words – Precipice, counter balance, leverage, impetus, precarious, shimmer, shiver, glide, hesitate, teeter, catch (of breath), instant of focus, moment of coherence and balance, the space between – spark, pivot point, point of balance (mobiles!), tipping point. 22-Jul-2018: Play with balance. Go for risk, the precipice. I prefer my humour whimsical or quirky. Push beyond the first idea. Surprise yourself. 14-Apr-2018: my brief for Confluence – Capture that moment of coherence and balance when everything comes together just before it all flows apart. Back on 26-Feb-2016 my research on Gillian Lowndes identified an attraction to Unbalanced; balancing act; teetering; precarious – and included a small brief. That led on to my whole approach to the final assignment in the OCA Mixed Media for Textiles.

The new brief is pretty simple, with a major goal to get beyond words and research and actually do something:
* explore what “unbalance” (etc) can look like
* illustrate off-balance most days and document for 30 days.

Day 1
A photo from a search on unbalanced provided the basis for this pencil sketch.

Struggling for balance on a post

Day 2
Trying out placement of “blocks” in watercolour. How much is enough to give the impression of disaster about to strike? That final block at the top appears almost stable/static.

Angles and gaps

Day 3
A search on images of gymnasts provided forms that are more balance-in-motion. The gymnast couldn’t have held that position, but the sequences were generally controlled. Of more interest but not used here were videos analysing movements of gymnasts fighting for balance on a balance beam. An initial flailing of limbs was quickly turned into a more flowing sequence of movements, recapturing balance.
This silhouette was made in gimp, based on a photo.

Gymnast

Reading and general workbook activity has been continuing throughout. One of the joys of the summer break is having some more time. Hope the momentum continues.

With all my fiddling on components over the past few months, I never got far in actually making something. This current project was intended to get me unstuck, and initial signs are positive. I’m actually interested in trying this out.

Day 4
Having got the new shelving pretty much level and balanced, tried playing with marker and watercolour looking for minimal expression of unbalance. Doesn’t look too promising.

Revisiting past work

Unpacking some old OCA work to start filling the shelves, it was interesting to see how many played with asymmetry and pushing the notion of balance. I love the defiant lines (“plastic horsehair”) escaping up and out.

Materials from that time continue to be important, especially the resin. Heat-distressing techniques too. Building and destroying.

Day 5

Sketch of Femme Volage

Notes on Louise Bourgeoise

Reading about Louise Bourgeoise’s series of Personages in Part Object Part Sculpture was interesting. Helen Molesworth writes of the human scale of the work, and then this: “Each work displays the same tenuous sense of balance as they grow increasingly slender towards the bottom, and seem precariously placed on flat metal bases…”

I’m not convinced that either of my attempts look particularly unstable.

Day 6
A photo of a mountain climber was the basis for the day’s watercolour.

Overhang


Workbook day 6

Ideas progressed on actually making, incorporating some of the materials and techniques from the OCA samples.

I’ve also been thinking about my motivation for wanting to base lines on the human body. Looking around at past work, the body appears again and again. I don’t have a compelling message or wider purpose in my art. On the other hand, the body fascinates. People are so unfathomable, and no matter how closely I look it gets me no further in understanding. I don’t think I can read an individual’s life in their face or body, but I keep trying.

Day 7
Another attempt to use reduced lines to show unbalance. Not convinced.

Unconvincing

Day 8

Robert Klippel
Small polychromed tin sculptures

On a visit to the Mosman Art Gallery for its part of Destination Sydney: Re-imagined, I was entranced by Robert Klippel’s small sculptures. I’m sure I’ve seen them in the past, but this time round the impact was much greater.

Strangely enough, in all this world of intricate and quirky forms, pretty much all looked balanced. The was a sense of sturdy whole-ness. It had me questioning my obsession – but not enough to change course. Instead when I got home I tried once more to find simple lines that illustrate unbalance.

The next step was to try to create something like it in wire. There were modifications as I tried to minimise the “foot” of the object.

First steps into three dimensions

Day 9
This variation attempts to play with visual weight. The base includes a fishing sinker – heavy for its size. The end “flag” is very thin metal – not much more than foil. The structural use of blue-tac isn’t exactly elegant, but at the moment quick improvisation seems key.

Ideas of visual weight

Postscript: while searching back in the blog for “balance” I found 29-Aug-2018, titled “Walking in circles” and excited about Part Object Part Sculpture and Alberto Burri. Fast forward to 1-Jan-2019 in which I wrote about circling, Part Object Part Sculpture and Alberto Burri. Blimey! It’s lucky I’m ambivalent about the whole concept of “progress”.

Workshops with Mary Hettmansperger

Three days, two workshops back to back, spent in the company of fellow NSW Basketry Association members, inspired and led by Mary Hettmansperger – what a fabulous experience! The first two days were Sculptural Basketry – soft materials, the third Sculpture, Surfaces & alternative designs in Baskets & Vessels.

In physical terms there isn’t much to show for it:
There is some waxed linen thread, coloured with acrylic paints. This is the only thing you could term “finished” – and it’s a potential input into other projects.

Painted linen thread


A small, unfinished sample of twining. Lots of ideas here including the shaping, internal stiffening with modpodge, three rod wale, the painted linen, a bridge to create two tubes…

Twining wip


A barely started form in aviary wire, with three rows of knotting and the intended twining yet to begin.

Knotting wip


A complex form created with wire, pantyhose, glue and dress-making patterns, full of potential.

Bizarre form wip


Looping on a twisted and hammered wire form, progressing quite well.

Looping wip


All exciting in their own way and with their own potential, but the most exciting thing is my notebook, filled with ideas and lists and diagrams with arrows.

Mary’s underlying approach is just what I’ve been working on – creating components over time, ready as input to a faster, intuitive construction process. There were periods of quiet work throughout the days, punctuated with demonstrations by Mary when she threw out ideas, techniques, possibilities, alternatives… We all chose different things to experiment with over the time – I don’t think it would be possible to do it all. There was lots of metal play which I haven’t tried yet. I have lots of notes and photos, and plan to do my experimenting at home with the tools, materials and setup I already have.

A final photo – of Mary’s work with my own twist. Mary brought with her a lot of the jewellery she makes – but no earrings! Unacceptable!!! So two neckpieces came home with me and have since been appropriately modified. 🙂

Mary Hettmansperger neckpieces earrings

Mind the Gap

Plan versus Reality.
Sigh

Inspiration
A watercolour by Bela Ivanyi, Boab at El Questro (Kimberleys WA), a finalist in the Wynne Prize 2018 currently being exhibited at AGNSW. So much energy, exciting marks, texture and layering!

Bela Ivanyi
Boab at El Questro (Kimberleys WA)

Bela Ivanyi
Boab at El Questro (Kimberleys WA)
(detail)

Bela Ivanyi
Boab at El Questro (Kimberleys WA)
(detail)

Bela Ivanyi
Boab at El Questro (Kimberleys WA)
(detail)

Purpose
The build | draw response cycle, recommended by Matt Bromhead and as I was trained in the OCA classes. Matt displays his drawings together with the sculptures. I was more interested in really focusing on my samples as part of the selection process for further development.

The Gap
Oh dear. I had some ideas about how to create texture with watercolour and wax crayons. Not good.
So I tried again, just trying to create texture. Meh. Watched a youtube video by Jean Lurssen on creating texture in watercolour using acrylic ink. I quite liked the results – perhaps I’ll make some background pages to get things moving.
Went to charcoal and pencil, more directly what Matt taught. I managed a limited range of different textures, but they don’t add up to anything in this attempt.

Result
Why would I show and keep such weak work?

  • it’s my process. Writing this helps me think about what I’m doing.
  • I live in hope – maybe one day I’ll look back and see how I’ve improved.
  • I achieved my objective. I’ve spent time looking closely at my samples. I know that slanted grid from Marion Gaemer’s workshop is pulling me. I know the resin platform is important to me. I know the gentle lines and folds of the plaster warm me.
  • Next
    I can’t remember if I clearly articulated the component approach in an earlier post. I want to embrace chance, intuition, and thoughtful play. Processes I like, particularly at the moment looping, take time. So I’ve been spending time making components which are then available to incorporate quickly while I’m building.

    A mini conversation with Kath in the comments of my last post (4-Aug-2018) started a train of thought. Spending some quality time looking at and attempting to draw the samples has given focus. I’ve got some questions and ideas around combining looping and resin shards.

    Clarifying the beginning

    After the excitement of the workshop with Matthew Bromhead (10-Jul-2018) I felt inspired and keen to start working.

    I wanted to combine lots of the ideas from Matthew’s class with techniques and materials I’ve worked with in the past. For a start, from Ruth Hadlow – not knowing where you will finish, be very clear on where you start.

    A few weeks have passed since I started writing this post, there’s been some activity, but at the moment it feels like a tangle of threads and I can’t find a loose end to start work on.

    Ideas percolating:

  • Chance, intuition, intelligent and thoughtful play
  • Elegance, decorum
  • Precipice, counter balance, leverage, impetus, precarious, shimmer, shiver
  • Glide, hesitate, teeter, catch (of breath), instant of focus, moment of coherence and balance, the space between – spark, pivot point, point of balance (mobiles!), tipping point
  • Would like a build | draw cycle – keep responding
  • Maintain the energy & excitement of the class
  • Blocks of time. Make space to work in the moment.
  • Mine my history of materials & techniques. Remind myself of what I know
  • Joins. Matt showed us air drying clay for joins. I did a whole project on joins for Mixed Media for Texiles (see link). Surely there’s something there I can bring forward. Plus on reflection I’ve been searching for joins – welding, soldering, rivets…
  • a shared weight
    Elyssa Sykes-Smith

  • Scale. Personal, domestic. I thought of Elyssa Sykes-Smith – I seem to recall a video in which she talked about measuring things with her own body. Then Luke Sciberras talking about the scale of a painting absorbing him bodily (27-Jul-2018). Which doesn’t quite fit where I’m going…
  • What’s happened so far:

  • Casting plaster using a clay mould (demonstrated by Matt Bromhead).
  • Plaster, wire, mouse mesh

    Sample p5-11

    The clay was lined with ribbed plastic, thinking of sample p5-11 from the Mixed Media course (23-Feb-2016).
    I don’t like the proportions. The plaster is a bit squat. The mouse mesh is too orderly, too fixed. But there’s some movement and shimmer in the wires.

    Plaster, wire. Cast in rough clay, wood on one side, wire inserted through clay sides

    The second cast tried a couple of ideas – different surface textures, different angles for wire insertion. An ugly lump.

    I used these together with one of the experiments from Matt’s class to try some joining methods.

    Sample From Matt Bromhead Class

  • Joins

    Small lengths and pieces made by looping with florist’s wire. This version the larger wires were threaded through, in another a slightly longer, thinner looping was twisted around, almost like a bow. Stays in place fairly well. Brings a level of detail and interest that I like. It also works on a single wire, not a join, as a small focal point.


    Another variation, this time a larger, square piece of looping.

    I had great hopes of this. A hole drilled through the thick brass rod, rebar wire threaded through, a bit like an incomplete rivet.

    Drilling the hole was slow and awkward. The end result is effective as a join of two wires, but doesn’t really contribute anything else. It might be useful in some circumstances, but hardly exciting.

    Holes drilled in a shard of resin and wires threaded through. Great introduction of colour and shine. Possibilities.

    Two lengths of rebar wire were connected by weaving across them with florist’s wire. An extra length of rebar wire was added in. Lots of movement and form-building potential.

    I like the level of detail that can be achieved.


    A simpler variation of weave also works quite nicely.

    Unhappy with the mouse wire used in the earlier plaster cast, I took a couple of photos with a wrapped wire sample from a class with Marion Gaemers (26-Dec-2017).

    Sample from Marion Gaemer’s class, posed with plaster cast


    Now that gets the blood moving. I’d want to wrap the wire after it is cast in the plaster. I also like the way the wrapped wire goes to the side, below the top of the plaster. How much manipulation could be done after casting?

    I wondered about making my own variant of a larger grid.

    Some lengths of rebar wire, quickly joined with simple wrapping of florist’s wire. The sample has a unfortunate suggestion of a trussed chicken ready for roasting.

    Still feel like I’m groping around the room wearing a blindfold. I might spend some time drawing, or I might take some of my favourite things from above and throw them together…

  • Workshop: Matthew Bromhead – Drawing and Sculpture

    This workshop at Hazelhurst Regional Gallery & Arts Centre was wonderful and dangerous. Wonderful for all the reasons below. Dangerous, because it could swallow me, instead of me swallowing and making my own from it.

    For a start, there was a muddle with dates and at the last minute the workshop was delayed a week. Three of us were lucky – we could manage the date change and Hazlehurst was generous enough to run the class with such a small group. With three people and a generous and responsive tutor the class morphed to respond to us. What did we want/need? Let’s do that!

    And for me there were so many resonances and gongs chiming and layers of coincidence and correspondence and a vibration… language still fails me. “Exciting” and “cool” were repeated ad nauseum – I really need to work on my vocabulary! Over the past couple of years I keep loosing and finding myself – and, shockingly, confrontingly, here I found myself in exactly the right place and time.

    Deep breath.

    Point one. Matt’s a great guy. All he can teach is what he knows – and he is prepared to teach that. It seems no holds barred.

    Point two. He uses my wire. Well, let’s keep it honest – Keith Lo Bue‘s wire. And Matt was excited to find someone else who uses it. (I’m talking 1.57mm annealed steel tie wire – get with the program guys!).

    Point three. Matt is teaching process. Provisional, play, chance… Make, draw, see

    Deep breath.

    Are you excited yet? I am.

    Throat cleared. Refocused.
    I can do this.

    Matthew Bromhead’s website is https://www.bromhead.com.au/. He is currently exhibiting at Gallerie pompom in Chippendale. I’ll see you there next Saturday. His practice includes sculpture and drawing.

    Matt taught us about elegance and decorum. (I could do with a bit more decorum).
    He taught us about intelligent play, chance and intuition.

    A limited set of materials. Thick brass wire. Air drying clay. Timber off-cuts. Plaster cast in clay. Steel wire (thump of heart), dental floss and tacks. Just a touch of acrylic colour gives polish, completeness.

    Mixed Media Sample p5-11

    [Resonance – casting plaster. See work done as part of Mixed Media for Textiles including 23-Feb-2016, 26-Sept-2015 and my “glorious failure” 14-Sept-2015.]

    Calder (of course) is an influence. Drawing zooms in. There is counter-balance, leverage. Chance and intent. Work on the precipice.
    Danger.
    Risk.
    Respond as you go.
    Play.

    Drawing from sculpture. Impetus exists within the sculpture. Texture, tone, values, repetition. Observe, embellish, invent. Multiply viewpoints, softly smudge, be sharp and thin. Begin with building, then change, add, subtract.

    I dissolve and emerge.

    Who am I? Where am I?
    How self-indulgent am I, writing gibberish… ?

    Roseanna and Vanessa were both delightful! (that sounds condescending, but I’m just a little drunk on wine and joy and it’s true). It was a pleasure to spend a day with them, to learn with them, to discover and grow with them.

    I’m in a state where words release and expand.

    Don’t edit.
    Expose.

    Share.

    Let’s all expand.

    Some photos.

    Matt demonstrating

    Roseanna sculpture

    Roseanna sculpture + drawings

    Vanessa sculpture

    Vanessa sculpture + drawings

    Vanessa detail

    Judy sculpture 1

    Judy sculpture 2

    Judy drawings


    So yes, the day was really fun. Permission to play. Total absorption in process. Growing up in a family of bellringers I recognise a reverberation that’s almost stupefying. So find some points of solidity.

    Embracing chance is a key. I’m thinking of Ruth Hadlow of course, of clarity about the beginning because the end is indeterminate. Junctions could be a place to show or find myself. The air-drying clay gives structure without creating a restraint to experimentation. Could I change that up? The plaster casting spoke to my Mixed Media samples. Push that. Then something around austere elegance. It will be interesting to see Matt’s work in person, the level of detail and elaboration. Roseanne, Vanessa and I all brought in extra elements of texture, sparks of interest away from the main focus, rewarding closer attention. What of “my” materials and techniques can be brought in without creating mud?


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