In previous pages I said about keeping the tape line- a lot of people kept questioning why I haven't painted the line. I kept the line as it responded to the curtain cords when i pulled them into the space- they hang directly above the line.
The line also helps off balance the room, not treating like an equal space. This line is also a textured surface, reference to the history of the rooms previous use (wall, line outs), many layers of paint and tape kept, like a print.
From removing the walls, there also was another unpainted area that i wanted to leave unpainted, leaving the mark of where the walls used to be which I have taken down for the show.
These two decisions leave a mark of the old space, leaving traces of time and movement.
Curtain Cords
I took off the ends of the curtain cord and added my laser cut shapes of cable tray.
The skirting
I kept the colour of the skirting as it went with my colour theme and it is another material that I have responded too by keeping it in its place and using that to help me understand the space.
My fascination with the mundane - the space is a back and forth motion of exploring the mundane prospects and adding my new materials which have been developed from the space.
With my materials gathered in the space I can start to play with a composition that excites me.
With my work responding to the space, I couldn't have a pre drawn idea of what i wanted and the is why I made the marquette's of the space to play with how i could place the walls.
I knew that I had walls to move around the space, breeze block size prints, wax papers, laser cut shapes and my 2 wax scrolls.
With my materials it was about constant play in the space and reconfigurations till a composition excited me.
Blue Cable
The wall in the corner was a definite placing for me, with responding to the blue cable line leading to the electricity box.
I want to play with weaving a blue cable line in and out of the wholes in response to this feature occurring in the space.
Coming away from the wall.
With the walls being so big and domineering, I didn't want them to be all along the wall anymore, take away from the breeze block pattern. There was also going to be 5 walls to cover the space, but I went with with 3.
It is hard to move around the walls, to constantly play with configurations, with the help of another student I was able to get them to prop up a wall in a particular spot so I could walk away and see the space.
I really enjoyed this composition and the wall starting to become and object rather than a wall.
I asked Ian Butcher and Simon, how possible it would be to suspend the wall.
Tools needed - metal wire and clamps
I decided the wall needs to be hung at a the height of a breeze block distance (laying horizontal).
Playing with composition- sandwiching the board between the breeze blocks.
Adding one of plaster breeze blocks to the composition- decided against.
This wall is in a similar place to where I was thinking of having my wax paper breeze block reference wall, but decided against due to the light being in wrong direction to show off the material of the wax.
Looking back at my wax paper embossings, placing them where the light line will and having the windows in the back to constantly show off the wax marbling.
The light beams running across the floor, showing me where to suspend my beam across the for the paper.
I placed the beam next to the suspended wall, creating a little connection with the 'walls'.
Reflective surfaces
I really enjoying the walls relation to the floor, with it being mirrored back.
The new painted floor has given it a reflective surface, I thinking because I properly cleaned my area with a mop, no dust to murk the oil floor - given it its shine.
looking back to my fascination of the spot light shapes on the Herbert Read walls reflecting back on the floor.
again with the materials being big and fragile, it hard to play with manoeuvring around the materials and seeing them from a distance as can't fix them temporally easily. With the help of a student, I got her to place the scroll along the wall and on the board so I could the relation the wax paper had with the board.
Seeing the light behind the paper, becoming sculptural.
I enjoying the colours of yellow, green and grey.
The relationship between the materials of the shiny floor, rigid/folded paper and folded/creased sheet.
The relationship - tape mark on the floor relating to the prints happening on the MDF breeze block and the folded shapes happening with the sheets.
Wax Paper
Referencing the breeze blocks, they were placed on rows, leaving gaps. From my previous experiment of hanging the test wax paper, I knew they needed a fixing across the top to keep them straight.
Thinking of materials, keeping to the materials I have used already, use strips of ply wood to use as a fixing.
I'm really enjoying the softness of the green sheet.
Not wanting to create a division, the wax papers creating a wall from the space behind, I added one of my hand router MDF boards, which are from the same studies (MDF plates used to emboss the paper), which comes from my original MDF wall recording the light.
I placed in that spot as it worked as a composition, but I the replied how it was almost in the exact alignment as daisy's painting to the left. With this I reacted by making my piece be the exact height as daisy's.
My work is constantly responding and evolving as I progress through the space.
With my set of materials, I have given my self endless configurations of how I could place them all and this is why my final out come is constantly changing and evolving.
Placing my wax scroll against the new wax papers. Playing with different configurations. Wasn't happy with the space - felt too cramped- paper scroll needs to go somewhere else.
Im liking there being yellow in this corner though, maybe play with the idea of painting the back of board yellow - reflect.
The light interacting with my work, the shapes of the paper creating the same shapes the blinds did.
Yellow
Thinking about how i could paint the back yellow with out it going through the holes. SILKSCREEN.
The shape of the screen print couldn't fit whole way across and so from printing in blocks, this white stripe was forming and I chose to keep it.
Blue tack dots, allowing me to visualise where I want to place the breeze block prints.
Happy with the left hand side, I'm starting to think about the right hand side. Reconfiguring the walls.
Weaving - Blue cable wire
After weaving a composition (starting top right by the original blue wire) I was happy with, I left the rest of the spindle of wire on show.
The connection of the wall be a giant cable tray and then being weaved with cable wire.
Pegs - attaching work to walls
The CNC machine didn't leave any negatives from cutting out the holes, so I had to get the negative cut out separately. As the machine would suck them out, had to keep bottom layer to secure them, so I have had to cut them out, trim and sand into shape.
Light movements
Arriving in uni early morning, saw the different light movements interacting with my work.
While the light was reacting with my wall, It was reacting with the real cable tray at the same time.
This echoing relationship between the works and the space, both being activated by the light at the same time and both producing the same shadows.
Arranging the wall. Planning on whether to add more tiles to the wall.
Didn't like the relationship it had with Daisy's work, like a wave of works going up down up down. I decided against, felt the singular MDF piece was stronger on its own.
When placing the boards in order, noticed the works aligning with each other, I enjoyed them as a three, and against the grey floor made them stand out more. Choosing to keep them on the floor rather than put them on the wall. The wall needs breathing space.
Using the pegs to place work onto the wall. The hexagon piece was originally fitting in the space, wasn't sure if the piece fitted in the rest of the works focusing on rectangular and spherical shapes. I tested out the spherical shapes in the space, I enjoy the layered one. Sam was playing with the perspex rod and inserted it into the wall, starting to have fun in the space.
Space constantly changing.
Being content with the left hand side of the space - I think i have focused more on this area as it is the angle of approach, I wasn't happy with the composition of the right hand hand side - wasn't playful enough.
Removal of a wall. Took the fourth wall away, leaving breathing space, felt the fourth wall closed the space down.
Then started to treat the wax paper as a sculptural object and have fun with the piece, not be so literal to drape down the board. Thinking about the enclosure of the space, being contained to the beam line due to the floors being painted. Thinking about the scroll escaping outside the space more when floors are finished.
Playing with the materials and the boards, have playful moments, break up from the repeated pattern. Painting the pegs, responding to colour theme I've been using, but slightly altered by adding a pop of fluorescent.
Ph
Richard Artschwager Blips - repeated motif materialised in different forms - similar to my approach with the space.
I'm enjoying the composition of works together, nice relationships forming between the works, playing with different depths of the space.
All elements from different directions of space, coming together to form a connection.
Looking at disregarded pieces of work, but displaying them in a new way, re-triggers my curiosity in them again. Thinking about Ian Kier, how he projected onto his plastic sculpture, I could of projected my film piece onto this piece, which this wax paper piece references.
