A junction point, with the need to establish some logic for a larger set of works in fabric. Here in this space, I'm hovering too much over each sentence — each postable image — and enjoying blurted thoughts published elsewhere with a 130 character cap.
With a new body of work, the chance presents itself to grow a new arm – or flex an unused muscle. In this case, a different kind of mark made. I do not buy the thought that a measured line is less expressive. So this is not to find something more 'authentic' or 'characterful'. It's simply a self-adjustment. A different rhythm — some disturbance — across the surface of what is something edging towards pattern.
These are natively digital drawings and I do feel the tick to give them another texture which has more physical key. But they are what they are, even if I wince a bit, posting them. Because they are a means to an end, with the translation to appliqué, embroidery and print to come.
They have some quality I have felt when pinching clay. Worrying something into shape. Graphic hesitancy. That I do want to carry through into fabric. In tension with something more measured at the conjoint between the wobble of these marks and the templated stability of a support – be that a frame, a chair.
I am speaking this Friday 9 November at St. Bride Library, for the one-day conference Letterpress: Something to Say. Co-ordinated by Catherine Dixon and Rose Gridneff.
It's coming at a time where my working systems across bookwork, stitched bag and chair, wall object and drawing are by-products of basically the same system (analogous to letterpress). In the end I do want an entropic slip out of the system for each output – and thinking hard about how this can happen.