I’m still here plodding along, once I sit down I’m hooked and love what I’m doing but it’s far too easy to procrastinate off into the distance! So what have I’ve been up to?
Raised surfaces and textures are something that I really love, it must be something to do with the way the light gets distorted by the highs and lows and alters the surface into something of wonder and interest. Heck, ignoring the flowery works, let’s just say they make me happy!
Playing with meandering cuts has therefore given me a fabulous technique for creating really interesting and surprising surfaces.
My first sample is very simple and is made from soft handmade Japanese paper.
It was very plain so I decided to add some gentle colour to highlight and draw more attention to the edges of the folds.
And finally I had a little play around with light and camera angles to increase the tonal changes to create more of a dramatic feel to the piece. It struck me then how important it must be to have your work put in exactly the right place at an exhibition and how frustrating it must be when this isn’t possible.
I’d enjoyed working with the simple paper but the idea of working with photographic and pictorial images was still playing on my mind and I was chuffed to find this little book for 50p in a charity shop. Ummm? Could I make a long cut and distorted sample?
The book is full of page after page of images of paintings of horses. Just perfect for me to continue the theme of manipulating and transforming a flat picture to alter the viewers immediate first look, to keep the eye darting round trying to make sense of what they have just seen.
I make a few quick note and a sample in my sketchbook book.
This isn’t going to be a quick or simple sample to make this time, the basic strip of pages is quite long and quite unruly (but I have tamed it a little with a quilting clip!)
I’m also a messy worker so I’ve only got a small portion of my work table to use for the cutting and sticking. It all soon got out of hand but then I remembered I’d got some lollipop sticks which might help stabilise the structure.
Things are coming along nicely and this method of exploration and ‘working with the faith that it’s going to be okay in the end’ made me think of Matthew Shlian, I’d researched him via an article in Uppercase magazine when I’d started MMT and I definitely feel some of his words had sunk into my subconscious.
I can never resist taking a few photos and publishing them on Instagram. There’s still looks of cutting and sticking to do!
Oh and on another note my submission for formal assessment of ATV has been posted and received. Let the nervous waiting begin 😬