A print for the excellent Hato Press, instigated by artists in residence efdeay, for their Tic Toc Pop Up Shop; details here. Open for 24 hours (over three days), 24 people were asked to conceive and produce an artwork for Risograph print, within the span of 24 hours. Edition, of course, of 24.
My selected colours. The image is coming from lines of thought that bond everything in progress at the moment. Bar structures from Handwerk — fingers, piano hammers and graphic notation to sound in working a chair design for Andrew — Bibendum belly bulges, crisscrossing hatching, ambiguous instructional code for ROLU — and more loosely, from recently going to and fro up and down the Walworth Road for Ceramics class. Feeling dazzled by nail bar displays; no pun intended but I can't put my finger on it. Off–the–meter innovation. And caramel, black and gold three–piece suite ludicrousness. Been trying to find a calligraphic, almost whimsical stroke in the linework; a little bit queasy, even.
That's also fed by the calligraphic briskness of Vanessa Bell's Omega Workshop textiles and this, recently discovered on Tell You Today. From Writing & Writing Patterns (1935) by artist, educator, author Marion Richardson. She is fascinating, all round, for someone whose week is split as mine, between Make and Teach and Make. An archive of her work, I think, at Birmingham Institute of Art & Design. Must go see.
Connection then, to screen manifestations of synthetic sound. Here, a Lissajous curve.
And here, Arabesque (1975) by computer–generated animation pioneer John Whitney, with sound by Manoochelher Sadeghi.