New York Surface Impression


I haven't properly digested or collated the recent New York trip, on these pages at least. More to say about the time there, studio visits and putting faces to valued words. In the meantime, this stack of photographs points to the fact that I am press moulding with clay and thinking about surface on an object and physical, handleable pattern. I'll name these places in the next post.


Up and About

Read below for some context. I've been wanting to find a way to draw directly, quickly. But in a way that registers and needs no reworking. Trust the hand then let it alone. Rubber and lino gives me the route to by-products too.


Wake Up

We have Open House coming up and it—arm in arm with Spring—always becomes a time to prototype. To wake up forms, materials, ideas for more sustained projects. There are bigger projects which do need this bit of hand-thinking, in order to have them turn over and collectively lurch forward.

The waking up is a lot to do with colour, which I've been sourcing and calibrating. Along with a certain, desired, heavyhandedness which I think has been lost since the first boxed works. The colours correspond to some experiments with body stains for ceramics, worked just before Easter. More on that in another post.

These can be considered first fragments. Root works that I want to grow outwards. That's how the broken symmetries of the embroidery designs are worked. Some mirroring, which is then disturbed. Sally and I have both been looking a good deal at Berber rugs, Kuba cloths and so on. I've mentioned elsewhere the Droste Effect and do like the idea of starting small and working outwards. Exoskeletal decisions.

Another aim is to make by-product prints. Building on the potential of the little woodblock prints made a year and a half ago. That's for another day.