glueing to board

When I did the foundation course last year I produced six major works as a compliment to Audrey's Tessalation series. These works can be viewed here in The White Room.
They where all created on streched paper and I never found a way to present them, until now that is. These pictures show that process.
What has prompted this flurry of renewed interest in these pieces is that I am holding a retrospective exhibition of all my work ( and Audrey's) here at InterSpace before the 8th of May. I will send you a copy of the Invitiation soon.
I am very pleased to be doing this because up until now these pieces have been living in a box!
Now they live outdoors and have a finished quality about them.
Couple of nice photographs too.
You can click on the image for a macro view.

milk

perhaps it has a name now.

A friend came yesteday and wanted to see what I had been doing and was conflicted about what it was..she said she had no point of reference ( or something)......so now she has....it's called Milk.
I am not completely cynical however as I have been struck by the sensual quality of the plaster, a subtle but pervasive softness and creaminess which changes with the light and the textual shifts on the surface of each tile.

There is also some cross over happening with the fullness of the box, there is a challenge to viewing it vertically and there is visual tension when studying the functon of the wire etc.

goodbye to Sophie and hello to a new mentor

It has been on my mind for the past couple of days since I received the farewell letter from Sophie, the fact that I will be working with a new mentor. I will wait until I have confirmation of who that might be before i go much further but some thoughts come up.

I will try and just move forward from here, not keep referring back to the process that began last year, last term or whenever. I regret having removed all my postings over the past months and then again, think it's okay, we go forward, only.

I am leaving Westport in less than two weeks now 9and will be working from Auckland for the following two months, and then Canada etc) and working to complete the second of my 3D works.
As part of this idea of the 'formless'in art I am working against the elevation and the raising up of 3D work. I was pleased to create a support system that allows me to work on the ground ( horizontal) and which will still allow me freedom to work with mass/weight/density etc.
I am committed to using a stockpile of oamaru stone that I have here, and began this work the cutting today.
I am very much involved with process and watching this unfold with this material.
I have some ideas of what I might add to the mix at a later stage ( perhaps wax, more copper wire) but I don't want to spend too much time projecting what might happen.

I find myself thinking about it all continuously.

installation finished,

Pleased to have finished what began six months ago with the making of 100 unique moulds from clay.
No other coments here yet on the process.

100cm x 100cm plaster, waxed paper, kleerkast resin,copper wire, traces of clay in a recycled rimu box support.

some music

This is some of what I have been listening to while building these new 3D supports/boxes, it's streaming from David Byrne and particularily up, happy, stupid and open.

conceptual>>>>>>>>>>>>>back to process again

interestingly I spontaneously began working again today
when it starts is the right time
I woke up and knew what I wanted to do and spent all day doing it! Ever since I decided to do 3D for the coming term I have been grieving over not being able to use canvas supports and the whole process of preparation to easeinto the work. So I've been thinking in the place of doing.
This morning I knew. I built a new support for holding 3D work which is partof the piece and is strong enought to hold a total weight of +40kg, on a wall!

Solving this problem has opened he way for a whole raft of ideas/series .