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![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX5ofnTAw8NzqVLJ_eR4H_PkXi96leU9i3lg9-JsEYtimKkKnbDSq3zzgL5oDjaEzQwOHcRXY3fI-8E1LtzKK1h3mbB9bXZ6eiOm-7i02DCBi47frzs8xy6IEZbu9ymnjVZgstacPsRCie/s400/Nencini_Listen_Eyes_Stool_50.gif)
Just-finished stitch design; a piano stool commission for the excellent Andrew Rae. Colours are always open to change, when Sally is working each area. As said — with each new work — new stitches are folded in. We are going to use a darker linen, close to linen canvas; so it works authentically as a halftone, either side of which the whitish whites and blacks register equally. I'll write more soon, on the research and content feeding the imagery.
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Finn MacCool by Richard Hamilton (1983), via Tate.
These twelve wall works will be installed at Partners & Spade, New York, accompanying the boxed edition, for their re-opening next weekend 9th September. All within a 400mm dimension, with a plywood carcass. Each with a variant 40mm pegboard grid that takes plates and bars of ply and hardboard, plugged with found erasers, dowel and nylon screws. Materials held therein: found papers, leathers, linoleum, linen canvas, sticky notes, erasers, rubber bands, with stitch. Each base board is a different dimension and I intend them to display on a centreline, with the consequent awkward negative spaces between. Coming from an interest in the way groups of images load to a crude template onscreen.