High time I showed something of what I’ve been up to. In essence, lots of messing about without stern objective or excessive critique. Lovely, I recommend it!
Left to right:
A paper chain – each link the strip torn off a teabag packet. Needle and thread still attached ready to add with the next cup. This is fun in itself and I expect it to become part of something else.
A collage of ATM receipts, teabag paper and tags, found knitwear scrap and painted papers. Türkiye Garanti Bankası receipts are my favourite, with their reverse print of something like a four-leafed clover.
A hanging lamp crafted from a fine plastic bag, the frame some found wire. I brought the strip of LEDs from home, they reflect on streamers of chopped up tea packet- cerise & silver foil.
As i may have mentioned earlier, I didn’t bring much with me in the way of studio equipment or materials.
Sometimes this has been Extremely Frustrating. Mostly, I’ve enjoyed the simplicity. And the challenge of improvising.
Today I discovered a plinth for my first 3D piece by uniting a vacuum cleaner box (of which more later) + black plastic bag + chunk of polystyrene.
…also a way to display my bilingual loving-kindness mantra, thanks to a somewhat dodgy light switch.
I’m feeling ridiculously pleased with these two small steps towards creating a gallery in my middle room. It’s nearly there: plain white walls, decent light and no furniture. If I can just scrounge a hammer and about 8m of light wire i can improvise a hanging system!
…in her new studio. Here in Göreme, Cappadocia Turkey I’ve very luckily found a cute little old stone house and am slowly setting up housekeeping and of course a workspace.
It’s slow because I’ve been taking a lot of time for social life – predictably hilarious given my minimal Türkçe – and walking, looking, drawing this marvellous landscape. Soon enough I’ll be happy to spend all day in a cosy studio with Ladybird.
In my last post I talked about re-setting my practice smaller after several all-consuming large projects. Here’s how I went about that:
Stopping- I took two, count ’em, two! days off any kind of seeing or even fabric fondling. It was weird.
Looking – I looked at Other People’s Art, in galleries and books. I looked at Nature. I looked at faces, including my own.
Learning – I went to an excellent 3-day textile art retreat with Cecile Whatman, of which more later.
Stocktaking – I sorted out all my in-progress works (fewer than I feared) and all my fabrics. That was exciting!
That all took place over a couple of weeks. With sufficient “think small” mindfulness, enough to break the automatic pattern of thinking large.
It seems to have worked. Since then I’ve started on two mid-size commissions, seen three small works hung in my first ‘art’ exhibition, of which even more later, and received the spark of inspiration for several small new works. Enjoying smaller scale for now.