Walnut tree of touch (to blanket)

The prints of the autumnal walnut tree have so far remained unresolved. They featured in a number of posts and small explorations but have stayed in in a folder.

Previous relevant posts for this series are:

https://close-open.net/2020/12/14/walnut-tree-of-touch-autumn-works-1/

https://close-open.net/2021/01/28/sorge-strom-as-part-of-stromverteilen/

https://close-open.net/2019/10/19/d-c-event-walnut-gravity-support/

For a crit group session on Wednesday 5/5, I proposed to explore these as the work is too relevant and significant to stay out of the actual BoW.

I go through a series of enquiries and a development process that is detailed in this sketchbook note:

The main points here are:

  • Discussions with my mother and a colleague over quilting, making a blanket alongside the other blankets (nb that Decke in German means blanket but also ceiling or cover, translating Trafodecke merely as blanket is too cosy) clarify that
    • a sense of context, a see-through is as important as
    • a sense that the blanket can become undone, the individual parts remain unchanged, undamaged.
    • an exploration of sculptural form beyond a blanket, e.g. a trunk, a cave, a cape are important too.
  • I make a sheet clipped with paper clips of 2×6, closed and explore one evening
  • I place the sheets in a tree and watch them move, sway, fall off

I realise too that I am thinking of an installation that includes a potentiality for the blanket: a pile of sheets held down with a heart-shaped stone I found one day on top of an old manual sewing maching placed on the meadow at the forest edge, along with a text that includes instructions around this work, and a series of performative video pieces that explore the potential blanket.

  • the prints were done when my dad moved from ICU to ward to rehab following a severe stroke in late Summer and that process is contained in the printing (him and I did some performance work around the walnut tree in the preceding autumn).

So, for the work a number of things are important:

It should hold the significance of the material and context well: tender, soft, with depth.

It should also hold the relationship of drawing/ contact, of the haptic and the visual and of closeness and distance.

How do these relate to the other parts of the BoW and where does it slot into the ‘site’ that is Stromverteilen?

As remaining development work this means:

  • a series of performances around sculpted/modelled constructions from the sheets (I order both wooden pegs and large paper clips to build temporary structures)

>> a temporary placeholder (with poor images) is in this post: https://close-open.net/2021/05/03/performing-a-potential-blanket-walnut-tree-of-touch/

  • to write instructions for the work
  • to try the sewing machine (currently located in the upper floor hallway in the house)

>> these instructions and a first photo set of the machine, the prints and the location is written up in this post: https://close-open.net/2021/05/03/walnut-tree-of-touch-a-potential-blanket-resolution/

  • to do a performance on the meadow with all elements once my friend T. comes and visits me in ten days.

The development of this overall material and various experiments are caught in these images:

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

This site uses Akismet to reduce spam. Learn how your comment data is processed.