back to black

I have been using power tools too much lately and I wanted to return to some drawing and something organic. I began this 5'x3.5' drawing. It revolves around the female being born with all the eggs she will ever need for reproduction. In front of the image of a medieval illustration of a woman's torso opened like a curtain from a stage play, there is a seed pod spilling it seeds into wind. This piece deals with my own apprehension about pregnancy. Year by year my lifetime supply disappears into oblivion. Medieval illustrations of anatomy are humorous to me. They depict women (and men) and their organs as curiosities to be discovered.

Returning to the line, brushstroke and

chalk-mark is a welcome change.

For my project I will be displaying my profiles in a few ways. First, I will build a small library unit and place the profiles of the Ancestors on the shelves. Displaying the profiles in this way will reference books to be read, stories to be told, people to meet, faces to learn. The elderly in this society are often placed away from the rest of the world. "Put on a shelf, " in a way. Tucked away to collect dust. These references are also recognized with this piece

Second, the profiles will be placed at eye level around a room where the viewer can circle around, surrounded by the Ancestors. In the center of the room will be their stories, in the form of unopened letters. The viewers are encouraged to open these letters and read them. These profiles will be reflective so the viewers can look at the profiles and also see themselves reflected in the faces of their Ancestors. My attempt at creating a mirrored surface on wood has failed. I plan to try cutting profiles out of mirrored glass next.

I almost have 100 profiles.

Thinking about layers, continued

I have given thought to the reflective aspect of the work. By using a mirror spray or paint of some sort, the viewer will see a slightly unclear vision of themselves within the profiles of the Ancestors. This act of viewing a reflection will cause personal reflection on the work itself. I need to be careful with the reflective surface because I don't want any references to the industrial. I thought of coating it in a layer of encaustic. This would uphold the organic feel of the work without letting the mirrored surface take over. Faces reflecting faces. Different sets of values staring back at you.

thinking about layers, continued

I have been thinking about adding a new layer to the Ancestor/Ancestry project. Some kind of reflective surface would be compelling. If the viewer gazes at the profiles of the Ancestors and simultaneously see themselves it would add wonderful poetry to the piece.

Thinking about layers

Layers in my work:

physical

human

life accounts

historical

ethics

psychological

graphic

responsibility

craftsmanship

three-dimensional

traditions

interpretive

How do they interact?

The depiction of multiple faces reminds me of some ancient works. Chinese Terra Cotta Warriors, the marble busts of Roman emperors. More on this tomorrow

what happens to the fine china?

What does it mean when the last of the generation gives way? How is this passing marked in time or history? What happens to all of their fine china?China collections seem to be a thing of the past. Today, married couples seem to put more stock in other things, rather than choosing their own china patterns and displaying them proudly in their curios. Sure, these things may be passed down, to be put on top shelves until the holidays, but what does it really mean to the new generations?
What do collections mean? It seems primarily to be a Western phenomena. This is my collection of pewter.... carnival glass......Pez dispensers. It seems we are all hoarders to an extent. We hoard things that act as signifiers of wealth, hobby or obsession. People in other cultures hoard yams.....stories.....memories. We seem to connect our memories to material object more than any other culture.

Ethics, continued

A discussion in class Saturday brought me back to the idea of ethics and the representation of people. What does it mean to present these images? Am I taking the right route or can it be said that I am assuming their voice? What can my presentation say to people who see the final piece? The work is meant to stand with a certain amount of reverence, to the people and their lives. It is also meant to present them in a humbly understated way. A sort of quiet monument-not a spectacle. Who am I to speak for these people? There is a difference between someone who would come from the outside and create this work, and me, who has been involved in the community for many years. Does this information need to be involved in the final piece for the work to be more effective?

Thoughts?

work