The birth of my blog, in the final throes of level 6!

I was gifted some willow. I built a drainpipe soaking facility                       (discovered that ‘drain bungs’ were an actual thing).

I soaked the willow 1ft = 24 hrs. so 7ft is 7 days.

I checked after 7 days the thicker ends required a further 48 hrs to soak. I raised one end in order to protect the thinner parts from rotting.

I then drained the water and let the willow rest. I however let the willow rest longer than I should. The resulting willow was still difficult to work with, instead of curved forms, I had many angles.

I tried to form a shape around a cone to no avail

I then sketched a potential willow eyelash

The willow drooped sadly. I was left to just incorporate the willow into itself, creating a sort of basket/ dome shape.

Today was a bit of a failure, however, it brought to my attention, that precision is needed, to record details and set reminders. Make the time or don’t do it. Wastage annoys me, and I wasted the willow sadly.

 

After visiting the Tate Modern and discovering the wonders of Maria Bartuszova ceramics.

I decided to consider the balloon. The latex balloon is not a terrible product, it’s made from latex  (milked) from a rubber tree and starts to decompose the moment it hits the air. The balloon rots back into the earth in the same time it takes wood to rot, approx two years. It’s the colouring and the releasing of the balloon which causes the environmental issues.  So I had taken the fun out of the balloon.

I am a mother and always have a balloon or 50 in the house, so the mission was to fill a balloon with plaster of Paris without destroying my kitchen.

I did destroy my kitchen, but in for a penny eh!

I had to experiment with the consistency and timings of the plaster in order to fill up a balloon to replace my breath.   As you can see on the broken creeper, there are many air bubbles, which were created by a plunging action. This was a difficult process to do on one’s own. I need an assistant and to not be in my kitchen.

Once the plaster had set, some balloons split resulting in these amusing forms., while others remained on the plaster. I preferred the balloons to remain but I had already planned an exhibition in the art space at University. I want the plaster to evolve.  The balloons also made me think of pigments to create vibrant casts. On my to-do list.

I wanted to achieve a cast inside a piece of wood, to create, squashed, bulbous forms, to express the playfulness of the material, and also to record marks of the unseen areas. I have achieved all and more, i would like to explore this further.

 

 

I am not going to explain, I do what I do.

Not wanting to encourage the child within and gather leaves to create a large image to be observed from a tree branch, i ran off to sit in the trees.

Observing the detritus formed by the rotting tree bark and leaf, i realised the richness of the colour was too good to ignore and applied it to my sketch pad. Not only was it beautiful to apply, but the aroma of the woods in autumn were now sinking into my page. I had with me only limited drawing utensils , and drew the shapes of fungi, cracks in the lumber where the limbs of the tree had come away from the body.

I noticed the variety in colour of the fallen willow leaves and wanted to somehow create a weave or a collage as the tree becomes chlorotic and ceases to synthesize. My intention was to create a delicate array of changing colour.  I adapted my keyring and cut into the sketch book page and attempted to weave. This was cut short by a mass of gnats.

Using mud from the ground, which was very moist, along side charcoal to capture the form of the leaf, I noticed the texture and application to be more determined. The mud created a completely different effect. It was easily controllable, defined mark making, did not bleed or smudge. I may use this again.

Charcoal branch- The rest of the tree was only starting to shed its leaves, this branch was physically ‘branching out’ like it was trying to reach the tree beside it for warmth or protection. Maybe this branch symbolises the the fingers of sleep by the Queen of Winter, the Cailleach. I hope she is not too harsh this year.

I have many interests, it’s rarely the final image that interests me, it’s the technique. I prefer to see the irregularities of slight changes in pressure or inconsistencies in ink application, along with the medium used to cut or carve. I am exploring the image capture of smoke and flame by sudden extinguishment as inspired by John Cage.

Things some of us choose to ignore, and complain about, but we so desperately need to look after. I recorded the sounds of bees and insects.  I then transferred and translated the sound into similar physical shapes resembling the soundwaves.

Using found oak and chain, applying a depiction of insect sound waves in copper.  I used copper as oxidisation by the weather is minimal.

My intention is to explore the ethereal nature of the elements.  Drizzle captured on paper. This has been the most unsuccessful art experiment ever. Ever since I decided to record rain, Colchester has been drier than the Sahara.

However, these are my favorite results;  I discovered how freeing the relinquishment of authority is which led me to investigate the complexities of chance and my own idiosyncratic undertaking of art.

Louise Bourgeois exhibition. So much to experience. The subversive nature of her work, implementing the stitch, the strength, and the power of females within the metal, fabric, and stone structures. In truth, I am drawn to protrusion, the question, the form, shadow, and texture. It’s about the stretch of the medium, how far can you push it?

Hadrian’s Wall, Roman Gateway (2022).  I did not actually know about this installation. I came across it whilst visiting the Borders. Surprised by the colour and impressed with the view it allowed.

Further experimentation, mark making by scratching, drilling, and cutting without damaging the rest of the face, I could explore various household chemicals and organic material to patina or corrode copper which would release the most vibrant colours.

Heating glass stringers; used in fusing, to manipulate the glass to then accommodate the holes previously made.

What luck, having never witnessed an installation in construction mode before, it made me realise that as an observer, how calm and organised everyone is. Measurements and calculations, wheels with cross sections mirroring the wheel above. Artists assistants diligently working away.

I could have watched all day, part of me wanted to ask if i could help ( can you imagine)?