Archive for the 'Techniques' Category

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

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?

    Happy 90th birthday mum!

    Recently my mother celebrated her 90th birthday, with a big party for friends one week and a weekend away with family (four generations, 22 of us) the next. For many years her mantra for a healthy life has been to include physical, mental and social activities in every day. The pace is a little slower now, but the interest in and care for others, her curiosity and keenness to explore the world around her, are constant.

    I’m the middle one of five children, and we worked together to organise the celebratory Festival of Margaret. Among many other activities, mum used to run a Friday afternoon Craft Club, not just for the five of us but for all our friends around the neighbourhood. That’s the genesis of my joy in making, and I really wanted to bring one or two elements of that into the party.

    First, how to identify the hosts – the children? Matching nametags, a photo of the five of us, modified to highlight who was who. Below is mine, plus me in full flight giving a response to mum’s speech.

    Second, how to help people mix given they were such a diverse crowd? Make-your-own nametags, with lots of coloured pens, pencils and stickers to play with. Some were more elaborate than others, and only a couple were left behind for me to photograph.

    Next, my sister suggested a wishing tree. One thing led to another.

    Instead of simple tags, something big enough to write a little story about shared times? So everything got a little bigger and it became a message tree.

    Instead of a plain or generic back, why not personalize it and bring in some colour? Mum has always been a keen traveler. I used the background of photos of her on her journeys and printed them onto the message cards – 88 different images. The example on the right is from a beach on King Island, a wonderful and eventful weekend together back in 2012 (7-Oct-2012).


    For the tree I used straightened 2.0mm galvanised wire, twining with 0.7mm wire. Given the number and size of cards it needed to accommodate it had to be fairly large – around 85 cm tall and 69 cm diameter. It’s very stable on the wide base.

    You can see a bit of the tree in action behind mum in the top photo. Shown here is a mockup before the party when I was testing the idea.

    The tree and basket of cards were on the same long table as the gear for making nametags, and there was a real buzz around them. People shared some funny and happy memories, and wishes for the future.

    It was a great party, a really positive and friendly vibe. Other siblings were responsible for organising an extensive slideshow of mum from baby to now (my goodness she’s traveled far and wide!), some yummy afternoon tea, a beautiful cake, colourful decorations, set up and smoothing things along on the day… everything to make sure that mum could relax and enjoy her day. I felt so proud and happy for her, and also so lucky to have such a family.

    The next day I used the hanging loops and some more ribbon to join the cards into a book-like form. It’s sitting on mum’s kitchen table, a momento of a happy day.

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    The second, family only weekend was great too. More talking, laughing, eating, and a lot of activity enjoying time together. There will be a little making coming out from it, but that hasn’t happened yet.

    Jane Tadrist: Silver Jewellery Etching

    This class at Sydney Community College was held on two Tuesday evenings. Going straight from work it made long days, but I’m pleased with my results and learning so definitely worth the effort.

    Very broadly the steps followed were:

    1. Preparation of images (done prior to class).
    These needed to be black and white, printed in specific dimensions to fit the metal pieces we would be using.

    I spent a fun afternoon going through images of old sketchbook pages, looking for possibilities. For example some pen and ink scribble from 2011 (A Creative Approach sketchbook 1), already interpreted multiple times including in print on cotton (22-Mar-2012), was the base for both square and strip designs. Not sure what designs would work best, I created quite a few, all printed out in both positive and negative forms.

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    2. Selection of images and transfer onto PNP Blue

    Copied images on PNP

    It was a multi-step process to get a photocopy of selected images onto PNP Blue (Press N Peel PCB Film, sold at some electronics stores to make Printed Circuit Boards). The film is expensive, so you want to get the most from each sheet, it has to be toner not inkjet, pros and cons of different designs were discussed, not-quite-right images were carefully doctored manually…

    3. Preparation of metal
    The constant, awful, truth of jewellery and small scale metalwork, in particular my nemesis – soldering (30-Apr-2018). Flat, to size, filed, no plastic coating, sanded, scrubbed, rinsed, carried tenderly and gingerly lest fingerprints should be left on its pristine surface…

    4. Transfer of design onto metal and protection of areas not to be etched.
    The toner on the PNP film is transferred onto the metal using heat – domestic irons. The toner will act as a resist, protecting selected areas while any bare parts are eaten away. Nail polish and tape were used to protect sides and back.

    This was as far as I got the first night. The actual etching takes time, at least 30 minutes and considerably more depending on a range of variables.

    5. Etching metal
    The prepared metal is put in a chemical bath – ferric chloride for base metals and ferric nitrate for silver. These chemicals need to be treated seriously, carefully – after all, they dissolve metal. Fumes, safe materials for holding the chemicals, proper personal protection, all had to be considered. Work with care and attention, and there won’t be a problem. As well as the safety procedures, Jane gave us lots of tips on correct temperatures, agitation (of the bath, not the users 🙂 ), methods and angle of suspension and more.

    6. Check, remove, neutralise, clean
    We all worked on preparing more metal and samples as soon as the first strips were in the etching bath, which helped with the waiting and anticipation. A check every 15 minutes or so, and eventually we decided the etching was deep enough. Each piece of metal had to be neutralised in a baking soda solution, then lots of cleaning to remove toner, tape, nail polish.

    7. Further enhance and use your metal
    I think everyone in the class etched three pieces – strips of brass and copper, a square of silver. Unfortunately we all ran short of time on the etching of our second strips, and they were less deeply etched. Some had time to create a jewellery piece during the class, but it was getting late and I chose to wait for the weekend.

    Some of us decided to use liver of sulphur on at least some of our pieces. It creates colour, a patina, on the metal and can be buffed back to bring out highlights and make the etched pattern more obvious. I thought it was always black, but a couple of us got other colours.

    I was able to get a few photos of other people’s work, plus permission to use them here.

    Vicki’s silver square, with liver of sulphur colouring

    The silver we used was 3 x 3 cm. Vicki’s design came out really well. I’m not sure of the source of her design, it’s quite a formal pattern, but there’s still a lot of movement. The amount of detail is effective, and I like the variation in size or boldness of line. The colouring from liver of sulphur works really well to suggest a peacock display.

    Dilkie’s silver square

    Dilkie chose to keep her silver natural, not adding any patina. The clean lines of the floral pattern stand out well and the eye is easily able to follow the lines with no additional contrast needed.

    The photos were a surprise, as the slight pitting and irregularity isn’t visible to the naked eye. I think if anything it gives a little extra life to the piece, an extra variation in the way light is reflected, and it shows the history of its making, the hand of the maker.

    Dilkie’s cuff, in brass

    Dilkie’s cuff uses a simple, formal, and very effective pattern. It catches the light beautifully.

    I need to think some more about the kinds of pattern that work best with this technique. I’d taken a few more formal or rigid patterns, but was interested in seeing how “expressive mark making” would work. I think it makes it harder for the eye to follow, so the patterning is more muddled.

    The scribble design shown at the top was used on a brass strip. It was long enough to make a cuff, with offcuts that I used in pair of earrings. The original design is quite bold, but I used the low-res blog version rather than the original photo, and the result is clearly pixelated.

    Cuff and earrings. Brass


    There’s no deliberate patination or colouring of the metal. Somehow in the etching process the unetched areas took on a coppery look. No idea how to reproduce it, but I really like the effect.

    The pattern I used on the silver square was less successful in terms of being easy to interpret, but I like the abstract nature of it.

    Sketch 20150815

    Black and white square design

    The source material was a print made in August 2015 while researching for molding and casting (21-Aug-2015). I used gimp for the image manipulation, which was as simple as selecting an area and changing colour mode to indexed using a black and white (1-bit) palette.

    Liver of sulphur was definitely needed to provide some extra contrast, and I got some areas of colour as a bonus. I think the others were planning to use their squares as pendants, but for me it’s always about the earrings.

    There are flaws – a few scratches, holes a bit off centre – and the ear-wires may well be changed. But I wore them out to dinner over the weekend, got some nice compliments from my well-trained family, and am happy.

    My final strip of copper just didn’t work. It needed longer in the etching solution, but the design is quite bitty and was always going to be a challenge.


    Sample p2-20 b

    The original photo was of a sample of joining with overlapping edges, using cork and insect screen (22-Jun-2015). Originally I thought the black and white design had a flow that would guide the eye along, but it’s really just scrappy. Back home I tried using liver of sulphur to bring out contrast, but there really wasn’t anything there.

    A detail of the “good” end.

    The class is being run again later in the year. It will be the same number of hours on a single Saturday. It would mean a longer stretch of time to get work into the etching bath (most of us ran out of time on the first evening), but you don’t have time to process, reflect and plan before the second half of the class. Tempting, especially if there’s opportunity to experiment with other forms of resist, alternatives to PNP (wax, different forms of marker…).

    Finished tealight from previous class.

    I’ve enjoyed two classes with Jane, who is very knowledgeable and happy to share ideas and tips, plus prepared to go a little off topic if asked. I realised during the class that I’ve never shown the finished tea-light holder from her workshop earlier this year. It was seen soldered but still needing the base resolved and of course all that pesky cleaning still to go (18-Feb-2018).

    There isn’t an actual tealight in the photo, just a desk lamp shone down into it. I think the treatment of the bottom edge works well with the theme, and it had the advantage of not being too precise so very suitable to my beginner skills 🙂 .

    I see in the post on the earlier class linked above that I was thinking of a home soldering area “before the end of the year”. Obviously I’ve brought that forward (30-Apr-2018), and with some extra tips from Jane, today I tried cutting and shaping some copper to make a cylinder with a tight fit that I could solder. It took some time, but I got my best-ever fitting seam. Haven’t actually soldered it yet – I could feel that I was both tired and impatient, so I walked away – but I have renewed hope.

    Cuff – resin offcut from Confluence basin

    Finally, as part of tooling-up to finish different things I bought an oval bracelet mandrel during the week. (an aside – it’s rather dangerous for me that Australian Jewellers Supplies is just over the road from my workplace.). As mentioned above, in jewellery terms I’m all about the earrings… but I’ve recently been thinking of extending out to cuffs, bracelets and bangles. This is an offcut from the basin element of Confluence (8-Apr-2018), softened in the work-room microwave and formed. Possibilities!

    Soldering simple???

    Maybe for some.

    I’ve made a few attempts to learn to solder.

    Last year was a one day class on soldering electronics. At that time I didn’t know it was a different thing to soldering metal. It was disappointing in other ways, the organiser agreed and refunded the cost, so all will remain unblogged and unidentified.

    In January this year was a week with Christian Hall (7-Jan-2018). I was out of my depth, nervous of the torch, and the one soldered join I brought back was basically the tutor demonstrating and me watching.

    In February I tried a metal smithing class with Jane Tadrist (18-Feb-2018). That time my little tealight was soldered, but I now admit sadly that Jane did the first seam as a demonstration to the class, and the second so at least the thing would be done before we ran out of time.

    The time spent with Christian and Jane was certainly not wasted nor without learning. It was just without me, hands-on, soldering.

    So over the weeks of March I bought a soldering kit, a heap of associated paraphernalia including air extractor and fire extinguisher, and rearranged the garage to create a safe soldering station. Finally in April, I’ve spent time with me, hands-on, soldering.

    There has been sawing and filing. There has been butt, T and even a little sweat soldering. There has been melting and balling of silver. There have been many hours finding and watching videos, and more hours reading library books – the excellently named Simple Soldering by Kate Ferrant Richbourg and Soldering Made Simple by Joe Silvera. There has been some wastage, and some metal repeatedly and brutally cut, soldered, recut, resoldered… There have been many failures and somewhat fewer not-exactly-successes.

    Towards the end of the month there has been a hint of what I was originally aiming towards. The attempted sweat soldering didn’t work. Everything slipped around. Much of the solder became a “decorative element” rather than providing any structure.

    But I like the way it cleaned up.

    Germination II


    It’s reminiscent of Germination II, at a much smaller scale. Importantly, it’s something I’m comfortable exploring in a domestic environment. Plus it’s a good reminder that the soldering is a means to an end. “Good enough” is enough.

    Diversion talk

    Today seven of the artists showing in Diversion gave talks in the gallery space. There was a very positive and energetic vibe to the event. I continue to enjoy very much the experience of exhibiting and it gave me a real buzz to have people interested in my work. I had some great conversations both before and after the actual talks.

    Artist talk
    Photo: Nicole Robins

    My contribution (or a variant of it):
    Our curator Meri chose a wonderful theme with “Diversion”. From many possible interpretations I quickly focused on ideas around distracted attention and departing from your “true” or “proper” path.

    I love going to classes, mixing with people as a change from the quiet hours in the studio, the inspiration, the new techniques and materials. For many years I was fairly focused, working with textiles although using a range of techniques. A few years ago I did a course in Mixed Media for Textiles and my creative world exploded – suddenly a wide range of media and techniques, plastics, plaster, resin, printmaking… – and away from two dimensions into space. I could definitely be off “the path”.

    Happily some of the classes were with Australian artist and academic Ruth Hadlow. Her model or way of understanding a creative practice or indeed life provided a structure or framework for what could have been chaos.

    In Ruth’s model there aren’t discrete bubbles of projects, each a separate series of steps: research and develop idea; plan outcome; produce outcome; deliver or display; full-stop. Instead there are series of strands of investigation co-existing, like the many currents in a river. A particular strand may start, fade, grow, join with other strands, resurface… It isn’t a progression to a Goal. You go where-ever most engaged at the moment.

    There are no diversions! Anything could lead anywhere, at some future time. You never know the end point when you start – there aren’t real end points in this ongoing process.

    Given you don’t know the end, you need to be very careful and clear about the beginning. What are your points of reference, what interests you, what attracts (not distracts) your attention? Analyse inputs and influences – be very specific about exactly what is drawing you.

    Then you can develop a brief – a question or challenge. Explore, not committing to a single direction early. Sample constantly – often sampling becomes the work. Sampling avoids predetermining the work.

    Ruth’s ideas have stayed with me. I haven’t applied her rigour, but my general approach is framed in those terms.

    The Diversion theme – distracted attention and straying from one true path – felt a challenge. Could I work using the model and have an outcome bringing many paths together for the exhibition?

    My brief for work towards Confluence:
    o Use elements of the river – currents and eddies and flashes of sunlight
    o Reflect my diverse interests
    o Keep sampling as long as possible, keeping it provisional
    o Capture that moment of coherence and balance when everything comes together just before it all flows apart.

    Confluence as exhibited in Diversion:
    o in my eyes elements of water or river or channel in each part
    o There are textiles, including my hand-dyed threads from my weaving days, metalwork and cold forging, resin, making mobiles, virtually a beginner’s sampler of basketry techniques
    o I’m disappointed there’s no welding or printmaking or cast plaster, or broken ceramics, or drawing, or …
    o There’s a literal approach to the idea of momentary balance, using my recent and ongoing experimentation with mobile forms.
    o There was lots of sampling (I took a sample-bag of the samples to illustrate the talk!). Some “samples” are incorporated in the exhibition work, some led to elements in the exhibition , some stay in the bag and may resurface in the future
    o As for keeping work provisional, my misreading of exhibition deadlines meant I didn’t have the mobile element ready and fully documented in time. Fortunately for me curator Meri was very accommodating. After the deadline the flow of work continued as I kept sampling and experimenting. Somewhat bizarrely it was a surprise to me when I suddenly recognised it – the basin element – was a finished object, really not at all the form I was thinking of at the start. It was the day before installation that I emailed Meri and she so kindly agreed to the addition. Other than sitting in the exhibition space working, I don’t think I could have pushed provisional and sampling further.

    At the end of the talk I briefly mentioned Waymarker, a sentinel of a stream of enquiry, of possibility, that I want to return to one day. An alternate stream that I’m hoping will allow me to experiment with some similar ideas albeit on a different scale has been progressing in the background. Fingers crossed, more on that soon.

    —–
    Most of what I spoke about has been recorded in this blog.
    * Mixed media for textiles course – see Categories listed on the right of this page.
    * 25-Feb-2016 has the main information about Ruth Hadlow’s workshop Articulating Practice, but do a search on the blog for lots more references.
    * Keith Lo Bue’s dvd workshop Poetry in motion: making marvelous mobiles (http://www.keithlobue.com/) teaches all about creating mobile forms. I wrote about some classes I took with Keith 23-Apr-2017, and a blog search will turn up lots more references to him.
    * Summer school in Welded Sculpture with Paul Hopmeier (22-Jan-2017) taught me all I know about welding. Waymarker was made there, although named more recently.


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