These are the two key themes that arose from the BoW 4 tutorial for the final resolution. As Walnut tree approaches resolution I revisit the BoW materials and come to the view that these are now complete and effectively concluded. They orientate around each other, contain site/practice and are my response to the drawing/contact brief. Much remains unresolved, open but this is very much the nature of my artistic practice as research, so all else will either be addressed in Research, in SYP or at a time later.
I am adding the sketchbook notes here for now, I may type them up but perhaps they will also suffice for my discussion and response to making the BoW address both the (ambition and scale of) site as well as the notion of immersiveness that organises the relationship between work and audience (and/or participants).
The task from BoW 4 were as follows:
Exploring the material forms (notably: video, perhaps writing, perhaps audio) that unpacks site and practice further – substantively (as in how the work relates to itself) and practically (as in how the work can be encountered)
Revising artist statement to clarify process and intent of the work
Tapping out which work is part of this process and how
Clarifying the role of screen and the relational principles between the work: how to negotiate different scales between ambitious site and quotidian lint
I spend a little more time considering the role of lint within the works that are proposed and come these:
1. In situ installation (a Phoenix 350 sewing machine, folded down, the front drawer is open, revealing an assortment of sewing utensils as well as a small b&w photograph featuring a woman sitting at a wooden desk in front of some garden bushes, possibly currants; a pile of double-sided printed cyanotype on Moleskine sketchbook paper, double-sided; a stone holding these in place)
2. Proposed site of the above installation
Option 1: central to first image in centre of meadow, images 2-4 are views from the proposed table site:
Option 2: at the side of the meadow, near a pine, looking onto the meadow (images 1-3) from table location:
3. Instructions to touch (a potential blanket)
There is a text or audio document to go alongside (possible the text printed and wrapping the pile, or in a digital setting, the audio would play:
(1) Go to the walnut tree outside. Find a walnut shell that has been picked open by a crow. Take it indoors, wash it, let it dry. After a few days, open your sketchbook and place the shell on an empty page, fold the previous page over, hold it taut. Take first a marker pen (in a soft pink), then a thick and soft graphite stick and trace the opening of the shell. If you want to, also trace the edges and folds further down until the whole shape is transferred. Remove the shell and close the sketchbook. Have a look a few days later at how the opening has folded into the sketchbook.
(6) Look out for some replacement stones, ones that are smooth and you can bind together. Along the field with the empty seed heads, make your choice and lift one from the ground, it may be half-buried. You may find it’s an almost perfect heart shape, it may not require any other stone. Place it in the bag you brought with you and then in your pocket. Once home, forget about it for a couple of days, then place on your windowsill. Think about a precious wrapping for this singular stone.
(16) Remember the process of unbinding the sketchbook, mixing the chemistry after dinner and coating a first side once, after an hour a second time with the chemistry. Switch off the light, after an hour place the sheets (10 for 10g+4g) into the light-proof bag and go to bed.
(17) Over lunch, on any day throughout October, place your prepared sheets onto the tree, watch for wind, sun and rain. You can vary the exposure time and you can also discover that you don’t need to concern yourself all that much with mistakes here and there. Continue to print in this manner until the leaves are shed off the tree. Show your dad your prints at regular intervals.
(10) As your father and you move his mother’s sewing machine (manual, with trestle and no zigzag stitch) to your room, tell him about that photo of your other gran, in their garden, on a desk, revising for her driving license. Look it out and retrieve it from appr0ach.net.
(11) Remember the stone from autumn, find it on the desk and place it on the pile of prints.
(15) Sit down to write these notes at the furthest desk in the woods. The shoes are wet from the grass, you pull the hood over as it is slightly not warm enough (like most days, really). There is the usual bird chorus, then after a while another sound rises to your consciousness: further out, beyond the furthest field a cuckoo. The first of this spring.
(12) After that meadow exploration I navigate the hedge and fence and step up to the patio, I kneel down next to him as he washes tools in a bucket filled with water and vinegar. I tell him softly that I may have resolved the work.
(13) There is a walnut tree in your garden. Yes, I took some leaves from yours in autumn. Yes, mine is about to get new leaves.
(14) I write the process from the day before on the Trafo, cross-legged, in an early sun. I take a leave and hold it against the sun and the firs. It layers effortlessly.
(8) I tire after a first attempt a few days earlier and prepare to walk off. I return and explore the meadow with a view as to siting the table. I wonder: are we looking at the table or looking from the table.
(18) The start of this, I realise, is a wrong lead, another project, not this. Really, perhaps this project starts with a hastily packed bag for a short emergency visit and a navigation of European Covid travel towards an ICU hospital bed some 36 hours later. I write this record eight months later still.
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)