Week 9
My thoughts for project 3 at this stage
involve revisiting a project from last year, both in concept, but pushing that
further and also in the type of installation.
My project last year I want to revisit was 'In Absence there is Presence : In Death we Live' and it wasn't the physical form that was the work but a shadow of the work was the work.
It was about the possibility of our physical selves being really just shadows of our real self.
In 'Memorials' the shadow would be the memorial - the work.
I want to push the concept in the way that the shadow would not be a memory or imprint of the past or a sign of the present but say that it would be a glimpse of what is to come. What that is yet I'm not sure..
I found an interesting article on Google scholar by Carl Jung about the shadow. ( see attachment )
My memorial I want to be just a temporary glimpse, an idea that was enhanced by reading the journal about the counter-monument.
I have started sampling with making a small vessel out of leather for the structure and fishing line to twine with. I wasn't sure if it was too tightly bound to create an interesting shadow but so far it's ok.
My project last year I want to revisit was 'In Absence there is Presence : In Death we Live' and it wasn't the physical form that was the work but a shadow of the work was the work.
It was about the possibility of our physical selves being really just shadows of our real self.
In 'Memorials' the shadow would be the memorial - the work.
I want to push the concept in the way that the shadow would not be a memory or imprint of the past or a sign of the present but say that it would be a glimpse of what is to come. What that is yet I'm not sure..
I found an interesting article on Google scholar by Carl Jung about the shadow. ( see attachment )
My memorial I want to be just a temporary glimpse, an idea that was enhanced by reading the journal about the counter-monument.
I have started sampling with making a small vessel out of leather for the structure and fishing line to twine with. I wasn't sure if it was too tightly bound to create an interesting shadow but so far it's ok.
WEEK 11
I have made a switch in my concept with my
project for Memorials.
Previously, the shadow was going to be the work and the work was the shadow but I decided I really did want the work to be the work but still follow the same sort of thought in the concept. So now the work will be a Memorial to the shadow. The shadow will symbolize a past life, like a blindness and the work will symbolize a consciousness, a coming into being.
I am still using the fishing line and I am still wanting to make some sort of vessel. I experimented with using the fishing line for both the structure and the walls using the twining technique but I wasn't really happy with the result. I think the first experiment with the leather structure works better and so I have started another one which I aim to be the final piece. I am making the base much larger which means twining more loosely and I have encountered problems along the way with the fishing line becoming so knotted and almost impossible to work with to not knowing how to connect the fishing line when I get to an end of length.
I tried burning the ends and fusing them together that way but it leaves a gluggy bit behind which isn't a look I'm after.
Thankfully on thurs in the groups Rebecca was able to show me how to leave ends and introduce the next lot of length.
I have also found two textile artists who work with shadows constantly in their work. The first is Dorie Millerson ( Canada ) ( see photo ) and Caroline Broadhead ( England ).
Previously, the shadow was going to be the work and the work was the shadow but I decided I really did want the work to be the work but still follow the same sort of thought in the concept. So now the work will be a Memorial to the shadow. The shadow will symbolize a past life, like a blindness and the work will symbolize a consciousness, a coming into being.
I am still using the fishing line and I am still wanting to make some sort of vessel. I experimented with using the fishing line for both the structure and the walls using the twining technique but I wasn't really happy with the result. I think the first experiment with the leather structure works better and so I have started another one which I aim to be the final piece. I am making the base much larger which means twining more loosely and I have encountered problems along the way with the fishing line becoming so knotted and almost impossible to work with to not knowing how to connect the fishing line when I get to an end of length.
I tried burning the ends and fusing them together that way but it leaves a gluggy bit behind which isn't a look I'm after.
Thankfully on thurs in the groups Rebecca was able to show me how to leave ends and introduce the next lot of length.
I have also found two textile artists who work with shadows constantly in their work. The first is Dorie Millerson ( Canada ) ( see photo ) and Caroline Broadhead ( England ).
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