I knew learning Mathematics at school must be useful, *10 years later* knowledge applied at last.
I————I
Segments – the part of a line or of a length of something between two points
(https://www.ldoceonline.com/dictionary/segment)
I would have never guessed my work would become so technical and mathematical knowing the subject was my least favourite at school.
The day I threw my math student’s book on the floor was when I accepted the fact I need to put extra effort and treat maths as an exercise for the mind instead of searching for places the knowledge is being applied. This is the reason I feel surprised to discover I haven’t only acquired the knowledge but have subconsciously kept applying it in my art practice.
This week I went to the studio with two different, single coloured and in fact, both found balls of yarn. I have a special attitude toward free items, aren’t they the best?… But I do believe, nothing ever is free.
I have captured a lapse in time of mine and Melisa Novotna’s practice. I found it particularly interesting to see the dynamics of installing and painting side by side. I did not feel the need to draw and preferred to test how the yarns look in our studio space. This play lead to an installation I finished the next day which was also dedicated to drawing and model making.
link to time-lapse https://vimeo.com/640342935
Stepping back multiple times to observe is a very important part of my installing process. I find myself pleased after achieving ‘symmetrical enough’ results as I sit down. ‘Untiled 28’ is an ensemble of segments in turquoise and pink. My brain compensates the missing third side and plays the game how many triangles I can find- 16. I feel tempted to put a stimulating sign “How many triangles can you find?” without giving an answer but put the viewer in a position of a personal perceptional awareness and emphasize on the fact we each see as much as our capacity lets us in the particular time.
Model making was not as easy and fun as I thought. It is hard to overlay and tape the work, especially I have done it in full scale first. I was anxious I would spend too much time on painting the box in order to make it realistic when my aim in the first place was to experiment. Drawing, testing colours and adding yarn on paper I found more successful. Expanding the scale might be a good step in the future.
I came to the conclusion that I am not ready to create installations from models but the opposite. Models are not as exciting as the full scale installation related to a specific space that becomes a place after my work ‘moves in’. I want my works to be installed in different places appearing slightly different each time which is in contrast to my old works that currently only exist as photographs. Eva Hesse’s works and process are my source of inspiration I am planning to unpack in a separate post.
Working with a ready-made cardboard box was difficult as it is not a transmittable space and it adds more work no matter if I do a model of a random space first and then adjust 1×1 installation. A model that replicates a space to document the work makes more sense to me.
This process drew my attention to the importance of the space in terms of colours of the walls, floor and sealing as well as the materials I am using.
Which comes first the yarn or the space?
I have worked mainly in white spaces and have been choosing yarn to fit it, meaning having white bits or being in contrast. Two or more single coloured yarns contribute to a better visual depth.
Possibilities for future works< undertake proper measurements and write instructions. Look at relevant examples of Sol Lewitt as well as the letter he wrote ”Advice on Self-Doubt, Overcoming Creative Block, and Being an Artist” to Eva Hesse in 1965.
There is a life read by Benedict Cumberebatch on YouTube which is very pleasing as I comprehend sound better, especially after doing some reading and writing is the best end of a productive day at the library!
here is the link>
https://www.youtube.com/watch?v=VnSMIgsPj5M&t=11s
