Why 'burnt offerings'?
Mostly because it seems to be a general trend - from bunsen burners back in my science days, to soldering irons, heat guns and plumbing torches which seem to be very useful tools in my fine art textiles now, or perhaps just because most of my cooking seems to be that way inclined!
Find offerings about art, textiles, running a gallery and walking the dogs ...
I have been invited to take part in
the Around the World Blog Hop by Judy Coates Perez, whom I met in Australia
earlier this year. Thanks for the invite Judy, it was great to read your blog,
the answers to the questions we are asked to consider were answered
intelligently and informatively, I hope that in my slightly tired ‘post very long
flight’ state that I am able to make some attempt, though it is utilitarian in nature and without the lovely images Judy added.
The q&a session:
1. What am I working on?
Currently I am at a natural break
point, having recently finished a series of work called ‘Negative Spaces’, a
sculpture called ‘Change’, I have just returned from a teaching trip to the UK
and Christmas is coming. Therefore new work will develop, but probably not
until after the holiday season as family and social activities are piling up. I
am however beginning to work towards two new five day long workshops in which
participants will be working in a similar way to the way I develop pieces. This
could possibly be described as a process of deconstruction and reconstruction.
It will mean some study, some close observation, some abstracting of forms and
then slowly reconstructing the elements to create a work. It would not be an
unexpected outcome of developing these courses for me to also have new work for
myself. I am certainly interested and intrigued by both concepts for the
2. How does my work differ from others of its genre?
If my genre can broadly be described
as ‘contemporary textile art’ then I am not sure that my work is so different
in use of techniques or materials to many other artists. I suppose that my use
of metal and metal cloth as a main material is reasonably unusual. I would hope
that my approach and the resulting pieces create distinctive work which is
appropriate to the subject matter I am exploring in the pieces; this in itself
shouldn’t be different to that of other makers, though the end result certainly
should be unique to me.
3. Why do I write/create what I do?
Just because! Or because if I don’t I
wouldn’t know who I am. I have stitched and painted for so many years that I
think my identity is tied to textile art.
4. How does my writing/creating process work?
Though I can work ‘off the cuff’, I prefer
to have a ‘raison d’etre’ for each series of work. This might mean
investigating any associations, any cultural, historical personal or other links,
connections, thoughts and so on to a subject. I will spend time in sketch
studies and playing with development exercises. Alongside this I usually will
also begin to narrow down the techniques, surfaces, colours, materials I want
to use or which reflect the nature of the ideas. Eventually the two come
together and I can begin to work on the actual pieces.
I am inviting you to see the blogs of Kim Thittichai, a
larger than life textile and mixed media artist, who will need no explanation
in advance, and Pete Mosley, whose blog is a slight sideline, being a maker,
but more importantly, he is vastly experienced in the art of being in business
as a maker and artist. He mentors, researches and writes. Unfortunately, my
third choice is still ‘pending’, and I am not sure what that does for the Blog
Hop, perhaps not a lot in the long run. I hope you enjoy the postings of these