As a way of keeping a more detailed/consistent log of my reflections on ongoing work, I will attempt, over the next study block, to check in with my journal at least once a week.
At present I have been mainly focusing on drawing, trying to loosen up a little and create a series of miscellaneous/ambiguous ‘things’. These have also developed into a mini series for the miniatures exhibition, which have the additional element of being double-sided drawings with a sort of root network on the back. I like this idea of having a hidden depth to the drawing, something that only reveals itself under certain conditions or when studied intently, but I’m not sure if perhaps it could be considered a bit too literal a ‘hidden depth’? But seeing the pieces installed in the space may change the way I see them. Another bonus of the drawings is they draw on the idea of a multiple; making the bigger sculpture before Christmas I think suggested to me that a multitude of ‘things’ – percolating clusters – are more effective than one big conglomeration.
I also did a little printmaking this week, creating an etching in a similar vein to my drawings. The detailed nature of etching works really nicely with the intriguing, knotty thingyness that I am trying to bring out through my drawings, and also has an effective association with historical modes of scientific documentation. There is also a reproducibility to printing that would be interesting to consider, although I’m currently not sure how this might fit in. I have also been doing a little cyanotype printing of the images of the sculptures on the beach. I thought the images were particularly effective in bringing other items into question in response to the sculptures, blurring the lines of what is ‘art’ and what are ‘objects’. I had hoped the cyanotypes might bring this flattening of object and art out in their slightly hazy, undefined nature, but currently this is a little on the back-burner so I shall wait and see how they turn out.
Sculpture-wise I would like to move away from the plastic glue. The sculptures are all impractically fragile, and not in an effective ephemeral way. It would be good if I could somehow add a more alchemic process to creating the sculptures so it isn’t so much just me imposing my own aesthetic preferences onto the materials. Hopefully I may be able to try firing some things in a kiln, inspired by Rosanna Martin’s work – this may be a slower process than simply gluing things together in my studio as it relies a lot more on external facilities so it may be good to keep other sculptural practices up alongside that. I would also potentially like to explore casting or even metalwork as other new modes of material experimentation. Having more sturdy sculptures means I could take them out of the studio more easily, either for more practical/commercial concerns such as exhibiting in galleries, or for more speculative displays on beaches/fields/outdoor spaces in general.
My rock tracking projects feel they have come to a close at this point. It would be worthwhile considering whether there are any similar projects I could set up in their place, or whether to focus all of my efforts into sculpture/drawing. Perhaps it might be worthwhile me looking again at Katie Paterson’s work as she has a lot of more scientific/self-contained projects of this ilk. It also may be worth me considering if I could combine the two strands of my practice – making sculptures that come apart and tracking the movement of each part? Maybe making pieces that are in some way formed by the elements would combine the two a little – like Georgia Gendall’s piece in Falmouth Art Gallery’s Thanks for the apples. Could I also revisit Vibrant Matter and Thing Theory to see if these spark any ideas?
I’ve looked at the work of Bridgette Ashton and Matterlurgy this week, both of which have strong ties to my own work. Matterlurgy is made up of two artists so it may be beneficial to look at their individual work, as well as other collaborative pieces they have done. I also wondered about looking at the work of Margaret Mellis, purely in terms of deconstructing ‘things’ and considering how best to reassemble them, both practically and conceptually. Another possible avenue of research may be to contact Rosanna Martin directly as she’s a local artist who is strongly influencing my practice at the moment.
(also potential of collaboration with Izzy and Martha?)
Anna Harris 