I continue with the wax explorations, adding charcoal and graphite to the liquid parafin wax. The colour density is varied, the charcoal disperses completely with the liquid.
The graphite does not submit and settles on the bottom of the cast which then becomes the top surface when removed. As the wax becomes more diluted the graphite groups with its own kind.
In preparation for the Group critique on Monday I have started to take rough images of the work in format, stacking the smaller tiles.
I am intrigued by the volume of the works. I am also provoked by the distance the images give to the work.
The distance between the materials is awkward. The last images portrays this in the arrangement as well. We know that if either pile becomes unstable it is likely to off balance the other, the materials colliding and probably fragmenting.
Binding the materials does not add stability. The action of binding was in itself destabilising and complicated, placing the work in a compromised position.
I want to explore the mechanisms of binding the work, through the materials used (soft ribbons, rubber bands, bandages, paper, tape), and the operations such as punching holes to lace them together, spearing them, melting them, plastering the plaster ones together, binding them with twine while still soft or brittle.
TO DO:
Revisit old work and bind piles together (Using old work for prototyping makes more senses due to time constraints)
Reflectors and ring light. White and black paper roll for photos
White paint books and piles of accordion fold books - bind and stack - unfolded and closed
CONTEXTUAL STUDY
Working through mechanisms of creation and meaning and the need to hide the meaning from the audience to enable the operations to happen. Privacy and restrictions in a country of privacy. The restriction of person and personality. Silencing the work in the manner I silence my practice and my thoughts. What does it mean to withhold practice?
the relationship of operations of creating and consuming.
To bind, to control, to hold in, to scaffold, to contain, to conceal, to seal.
Distance of viewer and artist to work. Weight of artist visible, haptic inherent - viewer dissociation, an enforced segregation.
Exclusion
Occluded viewership
Artists to explore:
Charnel-Joseph H Boutros
Ryan gander
