Speed and Memory

A friend sent me this quote she found on tumblr today. I feel it’s the missing link I’ve been searching for, linking ideas of slowness and memory that I’ve been interested in this term…

“There is a secret bond between slowness and memory, between speed and forgetting. Consider this utterly commonplace situation: a man is walking down the street. At a certain moment, he tries to recall something, but the recollection escapes him. Automatically, he slows down. Meanwhile, a person who wants to forget a disagreeable incident he has just lived through starts unconsciously to speed up his pace, as if he were trying to distance himself from a thing still too close to him in time.

In existential mathematics, that experience takes the form of two basic equations: the degree of slowness is directly proportional to the intensity of memory; the degree of speed is directly proportional to the intensity of forgetting.” – Milan Kundera


Field: Development into 3D

In my tutorial with David last week we discussed colour theory and the way putting colour on the back of flat planes can reflect the light in a halo of that colour around the edges. As an example he suggested I look at the first year fine art project displayed on the third floor – I hadn’t looked closely enough at these to notice the optical effect before but it makes the images pop. I glued some coloured paper to the back of my cardboard cutouts and the result above shows a very subtle halo of green and red light shining behind them. It reminds me of the hazy reflection of light you get on overcast days like the ones we had at Port Eynon. If I manage to make some of these in porcelain paper clay I could glaze the backs to get a similar effect.

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After Laura’s plaster casting workshop I was keen to try printing onto plaster because I hadn’t tried it before and I saw the opportunity to make more slab-like forms which I could assemble as a kind of theatrical scenery. I rolled coils of clay and pressed these onto an inked up plate, creating walls around different sections. Next I poured in plaster to a thickness of about 1cm and reinforced the back with scrim. I mixed up two lots of 2 pints water/plaster so I didn’t have to do the whole plate at once. I should have been much neater with the clay by cutting walls from a slab because I would have had to file down the edges less this way. The resulting sections are a bit too thick – maybe I could have poured the plaster sooner. On the plus side, lots of detail came out from the intaglio plate.
I then set these upright in a bed if plaster (4 pints) which again, was poured a bit late so looks like icing slapped onto a cake with a palette knife. The scene looks a bit naff and reminds me more of a snowscene with ice and glaciers than a beach. I like the idea of placing a second inked up plate onto the drying plaster then hanging up the sections when they’re dry so the print is shown on both sides.

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I also tried using coloured slips and sgarffito on slabs of clay. Inspired by Morgan’s Vicarious Wednesday talk I tried using paper resist stencils but discovered I have very little patience when it comes to decorating. Hopefully the slabs below will fire black and white.

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Slips brushed on White St.T

I’ve also been working on making paperclay for the first time. Porcelain casting slip can’t be used for this purpose so instead I had to use porcelain from a bag. I dried out the clay then ground it to a powder in a pestle and mortar, added water, then let it slake down overnight. In the morning I poured off excess water and soaked the paper pulp (ratio of 1:3 to the clay) for 2 hours before sieving it (60 mesh) to get rid of excess water. I mixed the paper and slip together by hand but the consistency was very lumpy so Matt showed me how to use the glaze mixer which blends the paper pulp into a smooth consistency.

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Sieving the slaked down porcelain before adding paper pulp
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Glaze mixer

I made up an ink with black underglaze, a small amount of borax frit to make it less powdery (about 5% is ideal) and copperplate oil. The powders were sieved through 200 mesh then the oil was added gradually, applied to the plate and rubbed off with scrim the same as with the intaglio ink. This afternoon I built a wall around the plate and poured in the porcelain paperclay slip with the hope it will be dry by tomorrow with the ink printed on. The underglaze should stay on when fired but it will need a transparent glaze to seal it. I’m worried the clay might not dry in time for tomorrow’s assessment so I may try using a heatgun to speed up the process.

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Inking up the plate

Frank Stella/Verity Howard

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La Penna di Hu

A sculpture is just a painting cut out and stood up somewhere – Frank Stella
David suggested I look at the work of American abstract painter Frank Stella. I’m particularly interested in his sculpture, in particular the series of monumental metal wall reliefs he made during the 1980s and 90s. The sculpture above is mixed media on etched magnesium, resin and fibreglass. It’s really hard to get a sense of what it’s like in life from the photo but the shadows behind make it float almost weightlessly. Wall reliefs are something I’ve never thought much about before but they’re interesting because they tread the line between painting and sculpture, 2D and 3D. I like this ambiguity.

My paper cut outs remind me of the work of ceramic artist Verity Howard who exhibited at ICF this year. She creates slab built work which is drawn and monoprinted onto exploring a sense of place. Verity’s mountain-like forms called ‘A Ley Landscape’ are a response to Victorian photographs documenting Alfred Watkins’s research into ley lines in rural Hertfordshire. The surfaces were monoprinted onto with grey slips which give the shapes a grainy, mysterious quality much like old black and white photos. She also created a series exploring windows and looking through them. A chiaroscuro effect is created by contrasting the dark clay body with porcelain inlays to suggest warmth and light inside buildings. I’m drawn to how her work conveys a sense of stillness and contemplation of the landscape.

I’ve been thinking lots about how the flat forms I am printing onto and constructing with are a lot like the painted scenery ‘flats’ for shows at the theatre. Painted sceneries are similar to the way the landscape of our everyday lives manifests itself in our memories and dreams. They are two dimensional and simplified and similarly, the landscape in our minds doesn’t exist in reality. It’s distorted and intangible, made up of two dimensional snapshots.

Images: http://www.toledomuseum.org

The Meshwork of Objects PDP

My Level 5 study group was Jaqui Knight’s ‘The Meshwork of Objects’ which I chose because I hoped to gain a deeper understanding of the holistic approach we took to how objects, bodies and environments are connected in last year’s ‘New Materialisms’. Jaqui introduced us to her own background in film and we discussed the genre of Structural Materialist film as a way to illustrate the concept of ‘Thingliness’. These films celebrate the materiality of film-making and stand as the antitheses of mainstream ‘Hollywood’ narrative ideology. Although difficult to enjoy and decode as they are non-linear and contain unexpected juxtapositions, they manage to render the invisible visible (by bringing to light the thingness of the film strip itself).

As a ceramics student I felt familiar with this concept of celebrating the material and the qualities it possesses, what might be called the non-human agencies at play in the co-creation of an artwork. After all, uniquely to my practice, clay (the material itself) not ideas or concepts is at the core of everything I make. As a material that can be shaped then re-claimed and re-modelled, clay is ideal to illustrate the idea that objects are only punctuation points in the life of things. The fragility of fired clay utensils also serves to remind us that all objects are in a state of flux. When a mug smashes, the object is not destroyed so much as transformed. We are all re-incarnated stars, punctuation points in the flow of matter just as any other object is. This learning has made me question the hierarchy we place ourselves on top of and instead I have been introduced to the perspective that we are simply ‘things amongst other things’.

The most useful aspect of this study group for me was our trip to Cardiff museum. Having visited the museum before to see exhibitions and collections it was a very different experience to look around focusing solely on how the objects had been displayed. I felt I was walking around with a renewed awareness, questioning everything and realising that even the things we take for granted such as the size of the steps, the brightness of the lighting and thickness of the glass have all been designed. This meshwork we had been discussing became visible.

A significant idea we discussed was how the ‘thingliness’ of objects becomes visible only when we are making something or when an object breaks down. We only really consider things in relation to us as humans. In a similar way we only pay attention to space when the usual order is disrupted in some way, for example we are pushed past in a queue.

Previously in my ceramic practice I made objects without much thought about what would become of them in the future. As a result of this understanding that we are all entangled in a meshwork I feel much more responsibility as an artist/designer to consider carefully what I am putting out into the world and how this impacts/ruptures the meshwork. Considering the things I make from an ecological point of view becomes important. Is it really necessary to fire everything I create, which uses up valuable energy? I have also began to consider the practicalities of transporting the work I make as well as what kind of environment I desire it to be displayed in.

At first I felt worried this study group would not relate to my work and practice, after all I don’t think I want to be a curator. Gradually though I came to realise that it is as much a responsibility of the artist as the curator to consider how their work will be displayed as it has a huge impact on what and how the artwork communicates a message.

As a result of working together in class through complicated arguments in academic texts like Bill Brown’s Thing Theory, I feel more confident in deciphering these kinds of philosophical arguments myself as I am becoming more attuned to this style of writing and vocabulary. I still feel as though I understand the concepts to an extent but can’t put a name to the idea as I learnt when I had a tutorial last week with Jaqui. I explained my essay ideas and she suggested the terms ‘ecological aesthetics’ and ‘relational ontology’ were what I was exploring but I still don’t feel entirely confident explaining what these terms mean.

I felt last year I was so involved with looking at context that I failed to dedicate enough time to the other sections of the course. As a result this year I’ve focused more on subject with the aim of improving my throwing skills but as a result I didn’t attend any keynotes this year and missed two of the five constellation lectures. In hindsight I probably should have worked to get a more even balance as these would have been a huge help in writing the essay.

As a result of my study group I have certainly developed a more ‘relational’ way of thinking. The concepts we have explored have challenged my perception of what reality is. I see parallels with this in my recent experiences of cognitive behavioural therapy which suggests the reality we create for ourselves is all a matter of perspective and that if we recognise distorted thinking patterns we can change our emotions and how we perceive experiences. How we can live happier, more fulfilling lives is a key question I am trying to tackle, currently with my work and also by looking through frameworks learnt in Constellation.

Since exploring ideas around Japanese philosophy last year I have become preoccupied with concepts of stillness and balance as means of helping us to live more meaningful and happier lives. I believe raising an awareness of this entanglement of human and non-human agencies is a source of wonder and celebration, offering a more ecological perspective on life. As a result my essay is a proposal for a piece of public art which encourages a contemplation of the environment and our place in it.

Mythical Geographies

David suggested I work from my Port Eynon drawings on a larger scale using charcoal and to consider positive and negative spaces in order to think about how to start working three dimensionally from my sketches. I used the graphic work of Spanish sculptor Eduardo Chillida as a source of inspiration. His balance of black/white and positive/negative space has fed into today’s charcoal drawings below. Chillida’s 2D work translates well into sculptures because of how well defined the lines and forms are. My drawings are a little more ambiguous, the forms melt in and out of the paper and it’s difficult to say where lines start and end, which make it hard thinking of these as objects in clay. These drawings are inspired by the landscape but are not of any landscape we would recognise – they are almost Dali-esque in their blobiness…

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I started exploring space by photocopying my drypoint/monoprint, sticking these to mountboard then cutting out forms which slot together. These remind me of the rock formations higher up on Port Eynon beach. I like the way cutting up the forms distorts the surface pattern, the lines are no longer recognisable to me and take on a kind of life of their own. I also like the way these flat objects remind me of theatrical scenery.

I’m thinking of recreating the decoration by using slips and transfers on porcelain slabs. I like the quality of line and depth of tone/pattern a lot, they remind me a bit of the illustrations of Dave Mckean. I don’t feel very confident working with slabs and I don’t know much about printing onto ceramics so this is an opportunity to gain some new skills. Verity Howard’s work might be worth looking into in more depth.

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Working from Memory

Now that we’re back from Port Eynon, the rest of the work we make will be exploring our memory of the landscape, extending our direct experience into the realm of fantasy. This is where exciting things happen, the boundaries blurred between imagination and reality to create what David called ‘mythological landscapes’.
‘Mythical space is… a conceptual extension of the familiar and workaday spaces given by direct experience. When we wonder what lies on the other side of the mountain range or ocean, our imagination constructs mythical geographies that may bear little or no relationships to reality. ‘ Tuan, Yi-Fu. (1997). Space and Place. Minneapolis, University of Minnesota. Pg.86.

Our first step was to unravel our drawing machines and stick up the realms of paper in a strata formation along the seminar space wall. These representations of our journeys were fascinating – although we had all been to the same places on the same trip, our experiences and documentations of these appeared as varied as if we had been travelling in different parts of the world. The tools, colours and forms we chose, the lines we made, were all unique to our own personal and individual subjective experiences of the landscape.

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Next I cut up my long drawing and grouped the images together to try and tease out the recurring motifs in my work – simplified forms which are typical of my drawing style, Rocks featured heavily, in my photographs too. Perhaps working in ceramics, predominantly creating physical objects, I am drawn to the three dimensional, tangibleness of these formations. The play of dark and light and shadows in the cracks on their surfaces interested me.

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The 5 motifs

We spent Thursday in the printmaking room learning how to create drypoint plates with monoprint on top. First we created textures on a sheet of plastic using a dremel, sandpaper, tape and scalpels, drawing shapes and using templates inspired by our five chosen motifs. Next we inked up the plates with a black soya based ink and used scrim to rub off the excess. On top of this we used a stickier oil based ink rolled out in a thin layer to draw into and create a monoprint. I used seaweed from Port Eynon bay to create an impression. I really like the contrast of the flat areas of white where the stencils are against the rest of the layered background. The sheet of paper was soaked for about 8 mins before being blotted and put through the printing press with the plate, to help lift off a more detailed impression of the ink. The intaglio print can be repeated over and over if the plate is inked up again but each monoprint will be unique. The fuzzy, messy look of this print captures my experience he wildness of the weather on top of the clifftops on the Gower.

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Drypoint and monoprint
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Encausic painting with shells, oils, collaged drawings and gouache.

Yesterday we learnt another technique – encaustic (or hot wax) painting which I was completely new to. This involves painting a gesso primed wooden board with glaze washes of coloured gouache before building up layers of collage and coloured beeswax. I impressed shells into the wax and rubbed oil paint into the crevices, similar to the drypoint intaglio process, which brought out a much more defined texture. Scratching back into the wax to reveal white lines of the basecoat was particularly effective. I preferred this process to the printmaking because the results with dripping wax are less predictable. It’s easy to go on changing the painting by re-melting the wax with a heat-gun which is completely different to the finality and precision involved with printing. The drypoint process was long and laborious to create a single print so I’m going to work with photocopies of the one I made to bring about three dimensional forms.

Port Eynon, The Gower

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Port Eynon Bay

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360 degree panorama drawing from one spot

As part of L5 Field I spent three nights staying at a youth hostel at Port Eynon bay on the Gower where we spent our days on the beach and surrounding coastal footpaths documenting our response to the landscape and environment. The cold, windy weather made it uncomfortable to draw much of the time, and like in the Neath Valley, it was a battle against the rain. I worked almost exclusively in black and white the whole time I was there, which relates to my current subject work. I wanted to focus on form, texture and contrast rather than get distracted by colour. Until the last morning our days spent there were grey and overcast but despite being colourless there was lots of inspiration to be found, in the crushed shells on the beach, the rockpools, the rhythm of the tide and the ever changing skyscape.
A change of environment was what I felt I needed. Although I love city life, having grown up in the countryside, I feel far more at home alone on an isolated cliff edge! There was certainly a feeling of the sublime, of wonder at the immensity of space and time in relation to our puny existence. I thought of Tennyson’s ‘Break, Break, Break‘ and how the waves carry on despite everything. Nature is indifferent to our everyday struggles. It just puts everything into perspective for a little while, a break in the routine.

I’ve started to think a bit about routines – our daily ones such as the walk to university, as well as others like checking our phones and mundane ones like putting on a washing load once a week. Repetition can cause things to become dull and predictable but the trick to be good at anything is to practice it routinely. We can become stuck in routines like patterns of thinking and become trapped by them but equally the structure of a routine can make us feel comforted. I keep thinking of the series of plates by Juliana Rempel on which a single new line or block of colour is added along the sequence, slowing down the decorating process to highlight each individual decision process. I also think of our wacky Field project last year where we thought of the way people enter the university and how the experience could be made more exciting if we hopscotched in, or skipped, or rode a spacehopper.  I take pretty much the same route in every morning because it’s direct and saves time. But what if my emphasis was switched from time to space and I took a different route each morning and explored all the roads I’ve never been down?