This was my first crazy loom piece and it turned out much better than I imagined! I think the third one I want to build will be a moon-sun.
Worked on this structure this week. Started to think about how to thread the paper yarn through the edges, rather than around. I’m hoping to get an evenly spaced woven surface that crosses through itself at different points when the sculpture is finished. Still thinking of using several different fibres to add texture and sheen.
I have joined the Handloom weavers and spinners guild of Kingston! My work has certainly been leading down this path. I spent a weekend learning to weave and made a colour sampler scarf, and last weekend and this weekend I will be spinning my own yarn. So far I love spinning far better than weaving though I would like to weave my own backdrops for some of my sculptures instead of purchasing fabric. It’s part of that need I have to have a hand in everything that I use for a piece of work.
The importance of labour and the idea of a thing “being a labour of love”continues to be an important aspect of my work in sculpture. So many hours are represented in the sanding, carving, sewing, manipulation of a work. Each movement of the artist is recorded as the shape and design move through time, changing to become the finished piece. It’s a tangible stable record of a time, and of all the moments of the process and every decision is recorded there.
As so may sculptors seem to be happy to have a piece move farther away from the one who developed the concept. The making becoming more like a production with many hands lending their expertise to a single work. The project can draw upon other minds and be of a grander scale than any single person could manage. The results can indeed be amazing! Which is likely why in sculpture it seems to be very easy to out source parts or all of the making. It really becomes about the concept and that is fine too.
I have never been drawn to that way of working- separating concept from making. That kind of step takes away from exposing the limits of what I really know,. By handing a piece over to be painted or molded by skilled person or group of people takes it away from my accurately recording my journey. That journey from concept through process is the very thing that draws me into work, it’s where unexpected forms of discovery occur and means so much more than the goal of finishing a work.
It is so important to me that I maintain the intimate humanness of the work, as I fumble about trying to solve every question the making asks of me and the knowing that each work is a record of the way I learned to manage problems as they arose. It’s a record of the way my spirit sings and mind works. It would then seem to be much more of a loss when art loses the artist’s unique development of an object. There is too much to be discovered inprinting your own hand and mind to each moment you are immersed in the making of a piece. Farming out the work feels to me like we are accepting that the mind can be separated from the body.
Maybe it’s a control thing for me, but it seems important for me to honour that integration of spirit mind and body in my work…so I have been led to learn about more about fibre and the spinning of wool and weaving or crocheting to add those elements to my sculptural language, honestly with all its unskilled imperfection.
I’‘ve been working on a new piece for a few months.
This work began as an attempt to work in reverse from the way I usually work, from clay structure to adding fiber as secondary. I’ve been immersing myself in the fibre world since early summer and have learned so much but there is an endless supply of things to learn. Another lifetime of study, which makes me happy. I’ve been taking a number of classes with Kingston Handweavers and spinners Guild, as well as attending some events and shows from here to Toronto. So in line with this and all I’ve been reading and you tubing I wanted to start this piece from the fiber rather than the clay.
I can see a greater freedom of movement suddenly avaiable to me in which I can see incorporating the clay work. It will likely affect the way I build up my clay and force me to use it in entirely different ways! Exciting!
I have been reading and sourcing some paper yarns and threads. I think I need to explore more ways of creating fiber like surfaces with weaving paper or buying Paper rather than using fiber though…it seems truer to my art form. There are a lot of beautiful papers but they feel stiff and don’t move like cloth, so I am not quite ready to give up my fibre research yet.
I am just learning to weave on different types of looms, such as the inkle loom with cards, and the jack loom. I just wonder how I can add texture with paper. The great thing is I have very knowledgable people at the guild who have spent most of their lives on the process. Next I will learn how to spin with my heart set on spinning my own art yearn.
I’ve been weaving in any only way that I can, and it at best is only rudimentary. But alot of the beauty I see is in the less refined woven work is what I’m drawn too, it reveals the human side eof the quation much better than the perfection of the experienced worker and the machine that now makes most of our cloth and yarn. I need to do this by hand as I do all my work, as it is what gives me the real satisfaction in learning new skills and making the work analyzeable through my own unique lens.
Here’s what has happened during the last two weeks. I’ve been strongly influenced by all the historical costume I see while I am researching the hostory of Ireland. My daughter wants to go there when she is done school in two years. I might be bringing it to the Okwa critique happening in a few short days. I hope you can get out to see the OKWA show at the Tett.
I’ve finished two pieces started last fall based on the theme, winged prayers. An idea offered by an old school mate of mine from graphic design at st. Lawrence, was to design dragonflies. His family has attached some symbolism to the image of dragonflies, o taken with that idea the dragonfly carries meaning beyond its physical being, I became drawn to the idea of making wings in that familiar shape. I made 5 sets of wings each one thinly patterned by line and I trusted the paper sculpt to hold up to remind us of the delicacy and beauty and balance of any living being, I did finish two rather lovely pieces based on that idea. I love the delicate way the wings turned out and the obvious art nouveau influences! Didn’t those 1910 – 1930 folks know how to make bugs beautifully!
I’ve been sanding my fingers down just waiting for my new truckload of clay to come from Los Angeles. It had hit a bit of a glitch but my trusty Michael ended up calling and getting all straightened out for me! Meanwhile I’ve started four new pieces this summer but none have yet come to any sense of completion. I’m pretty used to that now. It seems to be my way. Lots of pieces started keeps me busy working on aspects I really want to work on until I am rushed to complete something for a deadline. Good thing we have them…deadlines!
Wow it’s September already! Lots of things are starting up at theTett. Peggy and I are running a one needle stitching social. Drop in one the first Wednesday of the month at 1:30 or the fourth Wednesday of the month at 6:30 in the creativity studios. We will be learning. New stitch each time and then have lots of time to continue doing our own projects or start a new one and have someone else to help or ask for help from! A great way to learn to crochet, embroider or tat!
Hope to see you there!
Great weekend at the ArtsExpo 2016! Lots of interesting conversations and met lots of great people! I’m glad to see that more people keep discovering us.
Lots of changes this year at the Tett Creativity Studios and I’m glad I’m still around to see things happening! We now have a poet/yoga intstructor (Brenda Leifso) and a jeweler (Whitney Haynes)! That opens up to alot of interesting thinking when it comes to collaborative events moving ahead! The other newer members are 2 painters on large scale canvas’ (Mat Poirier and Natalie) And a new photographer moved in last fall, Susy Lamont, who shares a photography studio, and Peggy Fussell, an illustrator has moved with me into a lovely water edge studio. Katharine Vingoe-Cram (Illustrator, painter) and Phoebe Cohoe (printer and Arts educator) are still in the emerging artist studio and producing new work and teaching workshops and giving critiques once a month.
Our Tett8 art collective has put up a mini show of our work based on the word reflections.
It is now hanging on the wall entrance to the creativity studios at the Tett. I created a piece that ended up feeling quite different from my other work and I’m not entirely happy with the way it ended up. But I was experimenting with different media looking for reflective and transparent surfaces. The water element turned out to dry quite a yellowed colour and it works against the blue white I ended up coating the surface of the piece with. I felt a bit rushed to get the piece done so I’m hoping my next attempt at showing reflections in water will go a bit better.
But that’s what I love about doing what I do. The experimenting with different materials keeps my mind busy and opens up the possibility of new directions for my ideas. But as you see not always ending in beautiful work that I feel that conveys what I am trying to say. The differences in the colours distracts from the message and I feel like I want to rip it down off the wall and rework it. But it will stay until we change the wall. Meanwhile I try not to look at it when I go in to my studio and start my new day of work. Hoping for better results!