Today I registered for graduation. I handed over three pages of forms and £40 and got handed back a receipt measuring 3x4cm. I don’t know what I expected. Champagne? Perhaps later. I came back to my studio and made some art. It seems all I’ve been doing lately is filling out forms and applications. I like organising and tackling little issues like this. But it’s nice to be truly creative also.
I found this tackle box in my loft over Summer and have only recently brought it to my studio. Some objects I find I instantly connect with and others feel disposable. This one is precious. The bulb and wrapper hold value to be too. And yet they have short histories and have seen little. The psychology of nostalgia is not as straightforward as the cliches would suggest.
I’ve revised a piece I made a few weeks ago. The shine of the acetates on top of the moleskin pages was distracting and a little tacky I think. So they’re gone. Well, not gone. As if I could discard of anything. That’s the entire essence of this piece, that I’ve recorded my every action throughout the month of January. The acetate texts are now displayed next to the colour coded sheets.
It makes sense for them to be separate really. Thoughts are so disconnected from actions sometimes.
They’re shown here on pins above a radiator. I think the way the heat from this makes them dance. But degree show is in May so I doubt the radiators will be in operation.
It was January in the (new) year, 2013
31 type on acetate and 31 coloured pencil on moleskin squared paper
I picked up two red steel boxes at the recycling centre last week also. Thought I’d attach one to the wall. Because…
I might use them to display my back up work. I might not.
I guess this is good. The stuff is just me. The problem is its so me that I’m protective of it. I don’t want anyone to know.
Perhaps, however, if they did know the stories of the work, it would help them to appreciate said work. A title provides context, but is it enough? Do my titles need to be more revealing? Do my descriptions need to be more in-depth?
Or can I provide a hint and a little bit of context and rely on you to enjoy it anyway?
Everything I Know About Him
spent matches, collected circles, text on trace, war used binoculars, rusted soap dish.
Do I have to tell you who ‘him’ is and what it is I know?
Technology is making a strong argument against my manual Imperial typewriter at the moment.
I’ve had the idea in my head for a while to make a shirt out of typed text. The problem with this is that with a typewriter having set margins, I’ve been having to make the pattern in panels. This obstructs the look of the piece a little.
Yesterday I had a crit. My tutor suggested, “why don’t you just print out multiples?”.
“Well because… because I want to stay true to my materials… and well… because… oh that sounds difficult… and because…”
I muttered nothings for a few moments and then realised as lovely as the idea of me hand typing the whole shirt is, I’d be so much more productive if i sped up the process with more advanced technology. And technically I’ve still typed the original text that got copied. That counts, right? …Right?
It counts. I’ve come to terms with it now. By scanning in one printed panel and multiplying it on photoshop then printing it on the large scale art school printers, I can do 3 weeks worth of typing in an hour. So I can make more art. I believe this is what they call a ‘win-win situation’.