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.

metre square of archaeological data

nearing completion, some structural reworking necessary and more cleaning but am still working towards a coherent end.....it has weight, mass, density and an imposing third dimension. it presents itself as a metre square surface and much much more. I have incorporated the usual surfeit of data, information, content, passage etc ( as I do on a painted surface) but it works differently with the extra dimension.

plaster poured finally....after 100 days

Well, the next phase of this piece was to pour twenty litres of plaster over the finished, waxed moulds/casts/tiles and now to let it thoroughly dry!!!!! Impatience at this point would see the whole operation kaput ( or maybe not)

Some satisfaction here and renewed excitement.

wood block and formless ( what I think I am doing)

100x100cm on brown kraft paper, water based printing ink, wax
This was begun some weeks ago and I decided to do more work on the negative spaces.
I decided to finish with it, finish it off.
After inking it up and running off some straight/simple prints, I was satisfied with the functionality of the block....then I began experimenting directly with the paper ( wax) and the block, coloured ink 'blobs', and the paper which I saw as a common, mundane surface/support.
I decided to not try and achieve crystal clear print definition, preferring to develop a direct spontaneous 'fluxus'. The addition of the wax to the paper proved to be a effective operation, introducting another layer sonmewhere between the more static wood block and the equally static or flat paper. Traces of a wax, repellant shadow ( are) present. The grid pattern ( of one hundred square) creates an information overload effect, that combined with the ill defined printing transfer, the random colour element and the etherial wax 'watermark' all conspire to subvert the passive viewing moment whilst supporting a shimmering moment of emptiness and formless quietude.





detail of block with wax gestural before printing.
( introducing wax onto the flat etched surface creates releif and a random uptake of the ink from the block to the paper; 2nd operation)



collage of block, ink, rollers, kraft paper and studio.
I'm pleased with the new studio which Niko and I built over the summer, nice views into the bush and over the river, I can hear it from inside. Big overhead lighting and white walls and wood ( sarking), nice. I've started using the liquid wax product, this after working with the hot wax on the NZ07 piece (posted below)
As to what I think I'm doing, it's ongoing, that question. Some reflections and soundings are posted here.



This is a detail of 1% of the whole metre squared print. Top left hand corner. I say, there is some depth and intensity present in areas. Sumptuousness, extravagance and meaninglessness.
It is not a wax seal upon an important letter. It is not a thumb print, and yet it does not stop trying to be.

week two and it's still hard

It's poor of me to feel obliged to write here when everything about my work is static and irrelevant and I want neither advice or contradiction. These images are of an experiment which is not complete. I cant find my way back home.........................this is old hat.
What I was working with last year was an exciting adventure, searching for new ways to make marks, unfolding the unconscious, process, formless and working with chaos ...infinite,
and now I feel as if am standing outside and it is all foreign babble.
I am increasingly plagued with feeling that I should do figurative work, faces, people, landscapes, trees, tractors, cows, babies, shops, cars, waves, boats, sheep, boys, nudes, hair, skin...........


these images are details from a 1000x1000mm stretched canvas
using india ink and wax
unfinished
the detail at the top ( green) is roughly equivalent to a posted below.

colloidal dispersion

1000 x 1000mm clay, india ink, graphite on canvas