Transformation: Work in Progress
Transformation is the theme for our next exhibition.
Here are some tantalising snippets from pieces of work in progress as well as images, thoughts and notes from sketchbooks.
We are very much looking forward to bringing it all together to exhibit in 2021.
Click on images to enlarge
What is the inspiration for the E.A.S.T artists Transformation exhibition?
In my current work “Marking the Journey”, the sea remains a prominent inspiration.
Sir Arthur C. Clarke wrote, “how inappropriate to call the planet Earth when it is clearly ocean”. The Pacific Ocean, the most majestic of all waterbodies, covers 1/3 of the earth’s surface.
I have lived significant periods of my life on different continents and my journeys are mapped not by land but by sea.
The oceans are the maps that mark my passage of travel and transforms the stages of my life into a flowing current of movement.
Click on images to enlarge
Building new roads impacts the environment and one of the positive impacts of the lockdown during the coronavirus pandemic was the quieter, less polluted atmosphere.
We have the opportunity to explore how we travel and make changes that benefit us individually and the world.
I am researching the relationship between fields, roads, and bicycles.
For some time now I have been fascinated with how artists depict the passing time, but also the myriad ways ideas can be communicated. And I have been thinking about how we are all learning new ways of communicating because of the 2020 pandemic.
My current E.A.S.T work began as an autobiographical timeline. Along the way my research has led me on a path looking at globe de mairée, The Glass Bead Game by Hermann Hesse and the language of Solresol.
All connect with ideas of symbolism and the passing of time transforming my thinking completely.
For the 2021 exhibition I began a sketchbook which I called Curious and I endeavoured to add cut-outs and flaps to each page to engage the viewer in a curious manner.
This led to the idea, which I began to work on for this exhibition, based, very roughly, on the idea of the Rubric cube where each side has to be turned to the relevant colour.
My nine cubes have to be rotated to make up one of six designs all based on books where the title included the word curious.
I have been looking closely at lichen and fungi, the ancient and often over looked small organisms that live in wild places in Great Britain.
They are fascinating because they often grow on what might seem to be something degenerating, like old brick work, stones or wood. But in fact they are an important part of a transformative process, where the original substance; rock or wood is gradually broken down and formed into something new for example forest litter that forms the building blocks for new growth, perhaps a young tree.
I am excited by these this natural process of regeneration in the natural world as think it shows a parallel process to that of human development and healing where something that looks frightening, perhaps depressing could be the start of something new.
I am experimenting with dry shibori and natural dyes to try to form lichen, fungi and wood for this work.
My current body of work ‘Mersea Floriligeum’ is focused on exploring the flora of the saltmarsh, these delicate natural forms and their network of roots ‘mesh’ together our fragile coastline, reducing the destructive energy of the sea as it flows in and around them.
I have found an analogy, during lockdown between these root networks and the ‘world wide web’ keeping us connected with our loved ones and have stitched printed binary code into my textile panels to symbolise these connections.
The transformation of my work has been a gradual move to another genre, from landscape to still life.
Two years ago I decided to look for an alternative source of inspiration for my textile work by taking up pottery.
At the time I really didn’t know if it would help or in which direction it would take me but I found I loved working with clay, I enjoyed the different processes and I discovered the still life artist Giorgio Morandi.
Quote from Grayson Perry:
“I love a good shrine. Shrines to me embody the essence of what I do. I put significant artefacts in a special place for us to contemplate. The special place could be in your pocket, in a corner of your house or by a roadside……….”
In the course of my research I have visited well know shrines such as Postman's Park, Crossbones Graveyard and the Bone Church in Kutna Hora.
For this body of work I have transformed thick plain cardboard (greyboard) into a group of rusted wood/metal effect style shrines which will hold objects related to the chosen theme. Objects which I hope will be either thought provoking, will evoke an old memory or cause a smile.
I have also transformed an old wooden case into a shrine commemorating the lost boys of Postman's Park.
In my recent work I continue to transform recycled fabrics into interesting texture and then into sculptured objects.
I am still at the research stage and still experimenting with various thickness of fabric and thread and hoping that the samples will result in usable work with a pleasing appearance.
A collection of small items - hats pins, button hooks, glove stretchers, rubber buttons, fans, sugar tongs and many others all of which we don’t seem to use now were the starting point of my research.
This led me to a renewed interest in millinery and related items.
A while ago I read of a doctor describing grief by sketching a gradually shrinking ball in a box containing a ‘pain button’ that gets triggered with less frequency over time.
As time passes, the ball hits the button less often, but the pain is still intense and the instances it’s triggered are random.
I love the way this illustrates how feelings surrounding loss can change over time and are unpredictable, and it led me to want to express this analogy and explore it through my own visual response.
With a working title of ‘The Ball and the Box’, the 3D pieces I’m making explore grief as one of the ‘dark emotions’ playing a necessary part in a non-linear journey towards acceptance and transformation.
The series of pieces I am working on currently for Transformation, deal with my mother’s life, illness and death.
I did a lot of drawings of my mother in her last years. It was a way of being with her, since the dementia made it impossible to have a normal conversation.
I started to work on these drawings during a recent residency. Subsequently, I started to work on a series of ‘fabric books’ using them to experiment with imagery much as you would use a sketch book. I am also now working on a triptych of specific early events in my mother’s life.
This is a journey, the end destination is still not clear.
COVID has made everybody have to think about society’s attitude toward the elderly. Do elderly people, toward the end of their life, have any value? Are they dispensable? Although my mother died well before the pandemic I am using my personal experience to look at the general question brought up by the situation we are all confronting now.
My mother’s death marked the last of that generation in my family, making me now, the elder that is facing the question of my value in society. What is left for me at the last stages of my life? What is my life worth?