Tonight completed all 180 “blocks” for my current Make Your Own Luck piece.
The plan is to attach the blocks to a piece of 1″ hardware cloth to make the piece more stable and stronger for hanging. Since the “blocks” are approximately 1 3/4″ there will be space between for a reinforced stitched border.
All the hole punching caused the screw punch to freeze up a bit. Graphite solved the problem.
“Blocks” to use for dots, dashes, and spacers.
75 Spacers Completed–Hardware Cloth, Roofing Felt, Cotton Twine, and Pennies from the 90s
To Complete–61 Dots and 44 Dashes.
I am in the process of cutting, punching, and assembling components for a piece that will be a continuation of my Make Your Own Luck series.
Often I work directly on hardware cloth, but for this piece I decided to make separate components to be assembled rather like quilt blocks.
I cut 180 pieces of 1/2″ hardware cloth. Each piece is 3 squares by 3 squares, and will be bound between a layer of tree wrap and roofing felt.
There will be three components to represent dots, dashes, or spacers in the coded message–See a penny, pick it up, all the day have good luck. Each dot and dash component will have a piece of mirror, and each spacer will have a penny bound to it. Haven’t decided on the needlework for the components.
Since I will be making over 2,000 holes I tried different hole punches to find which works best for the job. I used the Martha Stewart Screw Punch, the hole punch my husband used when he was a paperboy, and the punch I used for palm bark.
Each punch worked great considering the material. I found that the screw punch worked best when punching holes in more than one layer. I was able to use the screw punch with either hand, so when my dominant hand became weary I switched to my helper hand.
Since the materials are a tad sticky I frequently cleaned the punch bit with a needle tool.
Make sure when using any sharp tool that you keep clear of anything that might bleed.
South Carolina Highlights–Motoi Yamamoto
I visited the Halsey Institute of Contemporary Art to take in the installation Return to the Sea: Saltworks by Motoi Yamamoto.
I was excited to see how Yamamoto used salt in an installation format. The simplicity of the process–a squeeze bottle, a brush, and an idea–wowed me and the work was beautiful.
When I view work I typically do not like to read or hear much about it. I want to experience the work on my own. Well, can I ever really be on my own considering that all of the stuff that I have seen and experienced comes along with me.
When I first saw the work I felt an overwhelming calm. Living on the California Central Coast I first thought there was reference to the patterns left on the sand by the tide. I heard a few folks talking about hurricanes and storms. I didn’t see that. The work was too elegant and repetitive for me to think storm and violence.
What was I missing? After I viewed the work from the floor and platform, I watched the two videos connected with the artist and his work. The hurricane reference was there in the form of the satellite images of storms. The exhibition also had several of Yamamoto’s prints that made the storm reference clear.
What does Return to the Sea mean? Actually just that. At the end of the exhibition the folks are invited to help dismantle the piece. The idea is that they will take a bit of the sculpture with them and literally return the salt to the sea. The ritual nature of the process is evocative.
I have used salt in my work for a variety of reasons–reference to preservation, currency, good luck, and as a surface effect to grow crystals on works, and patination. While I was at the exhibition I found out that in Japan salt is used not only to attract good luck but to ward off evil. More reason to continue to use salt in my work with reference to evil.
I received my first real comment on one of my blog posts from Dinah at Discardia.
Yesterday I spent the better part of the day cleaning my studio space because of the moth scare. I decided to clear out the truly unneccesary “potential” art materials. Throughout the day I kept asking myself, “What would Dinah do?” At the end of the day, there was her comment.
Serendipitous.
Uncertainty about my choices faded; I felt validated.
I did have a weak moment, one in which I felt a bit overwhelmed with the task at hand. To calm my mind I typically do one of two things–read or bake. I opted for baking chocolate chocolate-chip cupcakes with chocolate frosting.
Vegan of course.
The recipes are based on Jennifer McCann’s book, Vegan Lunch Box–Triple Chocolate Cupcakes and Chocolate Vegan Buttercream.
After a cupcake I went back to my studio refreshed and ready for the task. I needed to stop addressing the cleaning and clearing in a random, willy nilly way. I needed to be methodical.
I started with the first set of shelves where loads of small open containers of bits are stored. Interesting that the boxes of jars that I was keeping for someday came in handy.
Yeah, I am pretty sure that I am not going to make snow globes.
And lids will keep out unwanted critters.
Nathanael “Big Baby” and “Queen” Nora appreciated your comments too.
The past weekend I found some fiber looking somethings near the baseboard in the family room. On closer inspection and after a google search I found out the terrible news. They are Tinea pellionella, casemaking moths.
They are known as casemaking moths because according to the Statewide Integrated Pest Management site of University of California Agriculture and Natural Resources, “…always carry a silken case with them as they feed. They never leave this silken tube, but enlarge it as they grow.” Apparently the case is supposed to be the color of the fabric they have eaten. Most of the critters I found on the gray-green wool carpet are rather tan.
So here is the thing, if they stay in their silken vessel and it grows with them, and they are rather small when I find them, two questions come to mind.
How long have I not seen them?
And how many are there that I can not yet see?
Totally creeps me out.
Apparently, the female can lay “an average of 40 to 50 eggs…” but I was unable to find out how many of those eggs will be viable.
Most of the information I found indicated that pyrethrin was the solution. I do not want to use dangerous chemicals. We share our home with house rabbits who frequent the space. Any chemical residue could end up on their fur which could be potentially dangerous when they groom themselves or each other. Actually if there are fumes, respiratory problems could occur as well.
I emailed my friend at the UC Botanical Garden to find out how to handle the situation. After talking with him, I pretty much decided that I would give the carpets a good cleaning and then probably try an application of Diatomaceous earth. Unless I opt for the new information that I found tonight on the Northwest Center for Alternatives to Pesticides site. The article stated that while cold temperatures are not effective, placing a space heater at 120º for 4 hours in the room where the moths have been found can be.
Then the horror of horrors occurred to me. I had read that it is a good idea to remove all bird nests near your house. The moths find nests a great place to thrive. I got a sick feeling when I realized I have nests in my studio. What if the moths have gotten in my studio? I have several pieces in progress, hung, and stored in the space; many have a fiber element. I started on one wall and made my way around the space. And it was confirmed that they really do like nests and even some of the work in progress had been attacked.
This is the interior of a lid that has protea seeds bound to hardware cloth.
Some work that is constructed of bound plant material and coated with wax had evidence of moths. There was one bronze and ceramic piece that had a single critter attached to its underside.
I disposed of most of the work. It was amazingly invigorating throwing out stuff. Then I found a ceramic cup bound with wool that had an application of shellac. I placed the piece in a container of vinegar.
I also had bound some split washers for a code piece and noticed there were a couple of critters in the container so I dumped the lot in vinegar. There is a single floating critter.
What I do not understand is why they did not attack the larger wool pieces that are in progress, but they did attach themselves to one of my clean work shirts hanging next to them. I’m glad it was the shirt.
Tomorrow I need to do a thorough cleaning of my studio.
Early on in my education at Ohio State University, I became aware of artists who would go to a site and use the materials present on that site to make a work. Often the work appeared as though it occurred naturally.
I had a romantic notion of visiting the woods near my parents’ home, connect with the site, and make a work. When I attempted it, I realized right off that I wasn’t alone. There were snakes, mosquitos, and ticks, all of which creeped me out.
I recently read about Stuart Wood’s environmental work on the Studio ‘g’ blog. The images of his scorched patterns on trees gave me pause. I like the idea of using a scorching process to alter a material. And that controlling a potentially destructive process can result in something beautiful.
When I visited Stuart Wood’s website I found many gorgeous pieces. And I admit that I found myself saying out loud, “…really, seagull feathers.”
I often use dried plant parts in my work. Typically the plants must have some interesting tactile quality, be toxic, and have a cultural myth or superstition. I was looking through a stash of dried plant parts and found some Haworthia limifolia leaves. They have great texture with sharp and pointy tips.
I googled Haworthia limifolia looking for information. I was a bit disappointed that the plant isn’t toxic. Apparently it is often used in place of Aloe for skin ailments. I did find a line that popped up in several articles, “Haworthia limifolia is often used by traditional healers as a spiritual remedy to ward off evil.” Curious. What kind of evil?
I have a contact at the UC Botanical Garden so I sent him an email inquiry about the plant. The plant is one that he gave to me several years back. He sent me a pdf of an article that I hadn’t read, Lightning Birds and Thunder Trees authored by Adrian Koopman. The article states that Haworthia is used as a charm to protect against lightning.
We don’t see much in the way of lightning where I live. Before reading about the plant’s reference to lightning, I had already bound the bits to a piece of hardware cloth to become part of a lid. My work must have the appearance of a life lived, so I age the work using one or more techniques–wax, heat, fire, salt, molten sugar, chemicals… and sometimes I bury the work.
The Haworthia bits are bound to the hardware cloth with cotton and bamboo fiber which works great with all of the techniques.
A few lightning information links–
S.A. Weather and Disaster Information Service, South Africa
Global Hydrology and Climate Center
Mortality Statistics–Victim of lightning by country
NOAA National Severe Storms Laboratory
I was visiting my neighbor who refurbishes musical instruments and he showed me a roll of Solder Wick.
I asked what it was used for, I hadn’t yet looked at the name which would have been a clue. I was taken with the woven aspect of the material, and it is copper.
Solder Wick is used for wicking away solder, or desoldering. I tend to look at most things as possible materials for use in a piece. The image above is deceptive because the material is not much wider than dental tape.
I think Solder Wick would be great to use as a binding material. The woven braid detail would be a wonderful element for loads of pieces. I will need to check the specifics about whether the rosin flux coating might affect the melt point and interact with my glazes.
Typically I make a bunch of test pieces and fire them up. It is always exciting opening a kiln. What gifts will I be given? I never feel that an unexpected effect is a mistake. It might be the best gift or information to file away for possible use on a different piece.
This is a detail of a piece with some metal sent through a low fire glaze. The piece was then fired with a bottle of Acetaminophen. The dose should be enough for coma.
The vessel is made of hardware cloth held together with nails, coated with Egyptian Paste, and fired to cone 016.
I am still thinking about the combination of materials used in this piece. I like the straight pins, and the bit of drippy glaze on them. I added a bottle of Ibuprofen to the interior of the cup and fired it again. I had hoped that the Ibuprofen would either become dry and powdery or molten and run between the pins. The pills changed color, but stayed pretty much intact. Couldn’t fire higher because of the glaze and metal used. The foot of the cup is washers bound on with bronze wire.
Solder Wick can be purchased online or at some local hardware stores. I can’t believe that this was the first time I’ve seen it.
The product images are from Wikipedia .
Today when I was reading blog posts I saw this image and was off on a creative journey. The image was posted on Sri Threads, a gallery specializing in Japanese folk textiles.
I have been thinking about weaving or embroidering a family tree of important dates using Morse Code. I have woven some pieces for family gifts, but I want to show the connections between the family members. I originally thought that a large wallpiece using coconut fiber, white cotton rope, sisal, and 1″ fence would be the solution. I hadn’t thought about the possibility of the presentation in the form of a book. I love the intimacy that the book format offers. While the form is quite different, it probably would be better received by my siblings.
Then very quickly I started thinking about words and banned books and my series, Cleanse Your Palate. Cleanse started with my attempt to remove a particular word from my vocabulary. A versatile word that has multiple functions.
In No Regrets, the word is embroidered and affixed to the shot glass with a ring that is also in code. The shot glass is filled with clove soap. Yep, wash your mouth out with soap. Clove because of its history in dentistry and I just happen to love its fragrance.
A couple of things of interest–what happens when a code is used to represent a word with negative connotations; can the word appear beautiful when knotted or woven?
From there I hit on using what some folks believe are objectionable words, phrases, ideas weave them up in code and bind them in a book presentation. The series of course would be titled Banned Books.