making day

Sat 6 April 2019 -Making day

in , , ,

Making day: group 1 - KF

Printing and book-making

I made some books up before the making day, I used the time on the day to work on the feedback from Catherine Baker (the tutorial was the day before) and work with some simple lines, collisions of materials and explore some mark-making and printing.

  • small leporello
  • graphite frottage line

  • mixed paper book
  • charcoal continuous line
  • charcoal was not lifted
  • these pages stuck together
  • i filled the line but it felt untrue
  • I erased all of the line to deny the lie

  • book making from found materials
  • book of found papers
  • drawing a line on lino with a brush
  • printing the line
  • outcome of drawn line on lino
  • I cut a block instead and used it as a stamp to get a more consistent line

  • inked up perspex for mono printing line
  • the texture of the ink
  • preparing to print
  • prints drying
  • prints drying

Notes from the table (literally):

Use the frottage technique to draw a line in an existing book - encounters with surface

Draw a line through the book with charcoal - that line is a lie (it was broken by pages sticking together) - erase the lie, process of erasing is evident as it alters the book again, abrasive to the surface, leaving a trace of the original line on the surface and altering the marks that were there before the line.

Not a book - an object that acts like a book, but how is it read? How is it viewed? The line is like a horizon but if it is hung it becomes a seam? Does a seam have to bring two things together? What does that mean for the seams of the book pages?

Truth - erasing - trace -

Constancy of print block line, it is fractured but the fractures are on the seams of the book, is it still a line if it comes in multiple parts?

Truth of line - frottage - felt forced - looking for interesting surfaces - how can one create a gathered line that speaks of truth? What is the truth it is speaking? Is it fo time? What time? Does it matter?

Sat, 3 November - Making day: Group 1

in , , ,

Making day: group 1 - KF

Sat, 3 November, 8am – 12pm
 

[googleapps domain="docs" dir="presentation/d/e/2PACX-1vSmfTqOaxqtN8wMJ77QgQh8rhHpHbc4FJbkn0pDpoMauixymxtL5WOX91vQlFxcWOMa3MUi699iCRyJ/embed" query="start=false&loop=false&delayms=3000" width="960" height="569" /]

Feedback: 

what would happen if I added a million layers?!

Collagraph - print

buildings and constructions

maps - constructing up and laying over

building a new utpia

getting to know the 'flatness' - having a conversation with the work - asking it what flatness means, what building up/construction is?

04/11/2017 - Task 2 - FFF - FORM - Making Day 1

in , ,

It had been a long day. The full moon was working it magic and my week had been pretty emotionally intense. I had spent the day at my reading and critique group (11am-6pm), discussing decolonising archival research, dealing with a lot of heavy imagery and discussing the way images are read by different viewers. This had sat wieghty on my shoulders due to my own personal situations. It was my turn for a critique as well, and unfortunately I allowed the emotive discussion of the morning to unnecessarily penetrate in to my presentation, muddying the work, its context and therefore, my feedback. Meh!

I came to the making session exhausted but eager to drop off the day and work.

I chose to explore ways to create a partition type structure using my fractured geometries.

The first piece I sketched the broken pattern on to a piece of muslin, used a running stitch and began gathering the parts.

img_3821.jpg
img_3822.jpg

I quickly dropped this as the pattern was completely lost and not what I was looking for. It felt wrong and not clean enough.

img_3823.jpg
img_3824.jpg

Revisiting an embroidery piece I had started previously I thought of a way to create the interlocking aspect of the chain stitch, while maintaining the transparency. I'm think about the ways to keep the delicate nature of the embroidery while up-scaling. using larger threads such a roving doesn't feel like an option as it would remove the delicate nature.

I cut a small flat card loom as quickly as I could from the pieces of scrap mount board on my desk and proceeded to warp in with the same strong embroidery cotton I had been using on the stitched pieces.

Laying the geometry underneath the warp I proceeded to experiment with a tapestry rendering of the pattern. Using a Sumac tapestry stitch, which was repeated on top to give the look of the original chain stitch. Once I have completed the weaving/tapestry I will remove it from the loom and capture the top and bottom of the piece between supports so I can manipulate it in to a maquette of a space.

img_3818.jpg

I felt a tad frustrated at the end of the session to see how fruit full other participants had been. However I was quick to realise that the nature of my process is that large gains come over repeated processing days and to accept that as it is.

I think in future I may chose different materials to produce with on making days, in order to allow for greater discussion of the piece, although the reality is that it would depend on whether that is actually relevant to the work I'm producing at the time. Perhaps it is best to leave that decision open.

The feedback I received was really useful and informative. The words and text from the chat box are below:

  • intertwined, soft geometry(?), linked

  • disappearing, time, layers, materiality

  • Layered, ephemeral structurer

  • enlarge, 2/3 dimensional, different materials

  • Structure

  • thread as building material

  • powerful, jagged, delicate

  • Maybe knitted tubes, padded? would still have small stitch detail Fractals

  • and what about colour Katie?

- Colour is an interesting point. using the lack of colour to stop any extra reading to happen to the work, so it is just about the textures and patterns. HOWEVER, since undertaking some readings on decolonizing archive and how research has been previously preformed I am questioning if white is the colour most appropriate and if it could be read as a form of 'white-washing', whether my genres of 'white, female, British, expatriate' are read from the work, either consciously or unconsciously.