As my heading says, the time leading up to the exhibition and end of my degree studies is flying so fast. There is still much to do, but it will be done in time, that's for sure.
Since my last post my work on studio practice 2 for my installation has been heading forwards.I underestimated the amount of time that it would take to cover and secure the mesh on to the structure.That is done, but it took two full days.
this is the mesh with one side manipulated and one side as I bought it. I love the texture it creates
this is one section of the mesh being secured to the structure
It took longer than expected due to the amount that I attach, It has taken about six metres of mesh in total.
The time was also taken up with attaching it with invisible thread. It was difficult to see ofcourse, due to the nature of the thread. The reason I attached it with this thread was that when the light is on within the spiral and vilene, I don't want any of the stitching or attaching to be seen. If the mesh was secured with anything other than invisible thread, there was a risk that the stitching would be seen, and if that happened when the led light was put in place, then by that time I would not be able to undo and redo, due to the nature of the construction of my installation,and the fact that there would not be the time at that point. I could have attached two sections of mesh together before I put in on to the spiral instead of attaching two separate pieces, but I wanted to be able to pull the mesh quite tightly around the spiral, and this was easier to handle in two sections.
sometimes having a pulley in the flat comes in really handy.
I ran out of time in the college to manipulate the second section of mesh, so it came home with me, was put over the pulley system that we have and it made it easier to do. It was easier to pull the emsh when hanging. had to gain purchase on both sides of the mesh and pull and stretch it. My tips of my fingers knew all about that, but the effect is worth the work.
mesh almost completely attached
I am leaving the top section at the moment. I don't want to cut it to shape until I have the pieces of textiles attached towards the top. I might cut off too much and then it would mean me re-attaching some mesh to the top. Although, one of the reasons I have chosen this material to cover the spiral, is that it is able to be moulded. If I do want to create any more texture within the exposed areas of mesh once I have attached the textile wet felting, then I can do that. I can build up layers of texture in sections if needed and if the design requires it, once the felting and silk papers are attached.
This is,a s I mentioned in an earlier blog, the way that I like to work. I can plan this installation so far, but until I start attaching pieces of textile, the final design won't become clear. The aesthetics of the pieces relating to one another will only be truly visible to me , once I start attaching. Some will work alongside others and some may not. If that happens then I will re-make or transfer sections.When making the pieces for it, I have ofcourse tried to link in colour and continued abstract patterns. But it will look different when in place on top of the mesh and steel spiral. I am so excited about the possible end result.
I have decided on a very earthy colour palette for my work. When I was researching colour, I found that reds, oranges, deep yellow, green rusts etc had the psychological qualities which worked best for the Hierarchy of Needs brief which I had decided upon. The link with each colour and the properties of each colour and highlighted within my research sketchbook.
template of size taken with newsprint
I marked off some newsprint to enable me to make wet felted sections which would be big enough. They will not all be as big as each level of the spiral. Some will be smaller and attached to add more of a variety of shapes and highlighted texture with the led.
this is a sample made with merino wools and a little pre felt. This pieces had to be felted four times and took quite a long time. I have to vary the pieces in size also due to the fact that doing large pieces all the time would take too long due to my deadline for the exhibition. Also, I think it's better to vary the size to make it more interesting well hopefully it'll be interesting to view.
this is silk paper piece drying on the net.
This sample also had thin sculpture wire incorporated within the silk fibres. I wanted to make bowed sections of silk paper, which would wrap around and follow the shape of the spiral. I tested this in college last week,a and the shape works well. When drying it, I attached the net to two indoor drying bars, but let the net hang loosely instead of taught. This let it dry in a bowed shape instead of flat stiff paper. The roundness of the stiff silk paper is good to depict shelter and safety. I will be making one or two more with the same method.
This piece was created using merino roving,and silk fibres all placed in a spiral design.
This will portray relationship, safety or shelter. Also the relationship to colour is an area which I am automatically incorporating within my design. That is also relevant to the third level of Maslow's theory of human needs. As I said earlier in a post, I seem to using Maslow's theory as a springboards for my installation more than an in depth portrayal. There simply wasn't the time to delve too deeply into the theory. Much as I wanted to, due to my fascination with human behaviour, there simply wasn't the time to inspect every single element. But I am pleased that I realised this relatively early on within the brief. But it would have been beneficial to have made that decision about two weeks earlier than I did.
organza and merino wools with wet felting method applied.
Since making this piece, I have decided that the organza will be very effective but only if not overused.
testing whether the pieces will work on the structure but will not necessarily where they will be placed on the final piece.
They are pinned on just for me to get an idea of what I still have to make regarding the area I want to cover with textile pieces. It will not have textile on all it. I want the mesh seen in areas so that the viewer can look through the mesh to the central tubular vilene structure which will house the led light. The spirit of the human being should be visible. As long as I can create light and shade in as many forms as I can. That also relates to the light and shade, of our daily lives.
vilene with an led light inside
The vilene which will be in the centre of the spiral will have to be wrapped over and connected. This image shows me trying this will heavy double sided tape. This does not work. When lit, the heavy line will be far too visible.It also did not stay attached for any length of time. The double sided tape came away after about twelve hours.
vilene with glued seam and led light inside
This is much better. The line will not be quite so visible and it has a softer effect. The glue gun will be able to be used fortunately. I had to work out what method of connecting each side of the vilene was best.Also, the vilene tube will be two metres in height. It would not be possible to machine sew this due to the circumference of the tube. So, the glue gun will work best. I can carefully line each edge up, with a smaller overlap and glue it.
silk paper with wire inclusion and shaped to dry.
Busy busy that's for sure.
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