In trying to develop my idea of plaiting or weaving different parts of my realities together, I have decided to use the warping tool in my photo processing software to give fluid form to my work.
My friend Krystyna suggested that I weave my paintings together. In my previous blog, I wove together a radiotherapy image and an image of a flower. Catherine, my perceptive OCA colleague, suggested that these new forms are an indication that I am trying to regain control over my life and where I am going with my art work post-chemo. Part of me wants to agree with her. These are 2 very strong current realities / truths about myself. The woven paintings created a completely different outcome, and the warped realities I would like to see as sculptures:
This too reflects a different bundle of my realities: my love of painting without any formal training to impose certain expectations of possible outcomes, and the radiotherapy I have undergone recently. The fact that they are lucid almost glasslike 3D images gives them a new reality for me.
A quotation in Alex Webb’s book on street photography stood solidly in my mind’s eye as I worked on the combinations of these works:
“Two truths approach each other.
One comes from inside, the other from outside,
and where they meet we have a chance
to catch sight of ourselves.” by Thomas Tranströmer (Webb. P.48)
I applied this in my recent work for our Bridge collaboration day. The idea was to follow a set of instructions to create work thereby giving us participants tools which we can use to develop our art work independently, ironically, through collaboration initially. The collaboration at the all-day session could also give the people in the groups the opportunities to get to know one another and so set up the possibility of collaborating later.
The instructions on this day were:
As I was the administrator, I could not join a group and therefore could not collaborate on this occasion, but I can on any occasion outside Bridge.
I used instruction 1,: the question:Does this apply to my work?
Inst. 3: I ripped the photos of the hydrangea florets photographed with my phone microscope lens:
Inst. 4: I cut the same floret images and arranged them along the ‘root’ lines then drew the lines connecting the ‘roots’ with the veins in the florets because they describe the ‘curved and lacy’ requirement.
Inst. 5: I found a hydrangea flower which had lost its florets:
Inst. 9: I mirrored the twig / branch lengthways and vertically and then superimposed them over one another, stuck them to the window and photographed the image:
I then warped the image: what looks like the elephant ears and trunk on the collage which disappeared after I had printed it because my programme crashed and so did not save the warped image.
Inst. 8: I took a pink felt tip pen, a stick of charcoal and a blue chalk stick and tried to follow the hydrangea twig but, because the drawing tools wore out at different rates, they became shorter and so would not register on the paper.
Following instruction 7, this was the outcome:
Webb,A. & Norris Webb, R. 2014. on Street Photography and the Poetic Image. Aperture Foundation.