it took three days to settle into the chicken coop studio. i imagined it having really low ceilings, but it was roughly the same dimensions as my space in berkeley.
|the coop was really rough around the edges, |
so i didn't worry about being messy
|rice paper: surprisingly durable, but does not withstand a sharp tip.|
in this drawing there are two figures drawn in white
i focused on trying to create spaces that the characters would move through. further abstracted, it didn't matter if the character moved through it or not; i just wanted the space to accommodate that action. an observer of this piece would find places he/she wants to 'go' in it.
|this loose abstract in my sketchbook followed me back up to the house from the coop. |
though it's not the same drawing as the one on rice paper, i thought the space in it was similar.
i'd look to it often for reference when i was in my bedroom.
|these figurative cutouts make the academic perspective in the drawing evident.|
the textured foreground, pink accented middlegroud, black and gray distant background.
|i didn't like the academic order that the cutouts imposed, |
so i removed them but kept the white on white.
(note - the yellow in my sketchbook made it into this piece too)
|(note - i folded over the butcher paper, drew on whatever surface seemed right.|
[see the first picture in this post too] later i realized that the folding meant something)
i surprised myself by drawing derivative things - swirls with textured lines, clouds coming out of faces etc. - the kind of stuff i hate seeing in art galleries! i was trying to get my sketchy line drawings to scale up, but this is what resulted. though i could paint bigger lines, they just weren't yielding the same texture as that of my pen sketches.
|an example of a pen sketch in progress|
though it's in its early stages, there is already a definitive sense of space
(and that the object is also that space)
|i saw the reflection of the trees outside, here in my paintbowl.|
the experience is similar to looking though a telescope for the first time.
wanting to work at a larger scale but clumsy and limited with the materials at hand, i decided on another route and began folding paper. the units themselves are fairly straightforward, paper painted with curved lines, and folded into points at one end. this was my way of addressing form, though at the time i did not know i was doing it.
|there are similarities on how the object left and object right behave.|
i think the paperfolding ended up being a good "next generation" experiment.
|about 1.5 days worth of tacking|
|on average it was three hours a day of painting, three hours of folding|
one hour of tacking
|this is when i realized my resources were limited.|
|i didn't want to create the white shape first, |
but then chickened out and did it.
while placing the white i fell back on what i knew (the shape 'circle'), rather than have it form continuously with the rest of the wall. i would have liked to form the piece from bottom to top in regular rows regardless of color, but in the end i took the granny shot to make the basket because i pretty much knew the jump shot would be impossible. i've promised myself next time no granny shots!
|it doesn't cover the whole wall but still manages to look complete|
in the end i don't think it 'emerges' from the accumulation of basic units as i had hoped it would, but it is close. i think the piece is most effective at night, under controlled light.
|this surface seems to bulge and recede, |
though it is actually all projecting from the wall at roughly the same angle
|space forming (left), image emerges (right)|
|depending on which way the installation is lit, it can |
have a very solid or very ephemeral appearance.
in the end i was obsessing over portals, transparency, and breaching space. for the next rendition of this installation i'd like to try angling walls together and creating 'expansion packs' of space for things to come out of. a baffle comes to mind.
residency work from july15-aug11