Welp, my final critique with a small group of faculty is a short 10 days away. I am anxious as I have a lot of work to do, but also keen to get the critique finished so that I can then focus on really preparing my work for final install for CHROMA.
I am currently TAing a photography course, Material Studies, and we were just recently introduced to a very interesting alternative photo process called Mordant printing. Essentially a photo sensitive liquid is made from a mixture of Potassium Dichromate and water. The liquid is applied to fabric, dried, and then a large negative is sandwiched between the fabric and a piece of glass and exposed to UV light. This produces the image directly on fabric. The image is then rinsed and the final process involves hand dying fabric using natural dyes- synthetic dyes do not work for this process.
Since I have been using the textiles printer a lot to print images directly on fabric- this method provides an alternative avenue and also incorporates an interesting piece of domestic work that I think could be a very interesting process piece for my work. Let me explain…
Lately I have been using my images from the textile printer and finger crocheting them into large crocheted photographs. The images themselves aren’t totally recognizable, however, I am interested in the idea of breaking down the domestic space through ripping and cutting of the image, and then reconstructing it through the crochet process. This is fairly simple but makes slight reference to a domesticated craft or work process through crochet that I find relevant. With the Mordant printing I can take it even a step further. By printing images on fabric through this alternative process there is hand washing of the fabric involved- similar to when I use the textile printer, but then the last step- hand dyeing- is where I believe my process can really also speak to the content of the work. In order to use a natural dye,
I can buy them online, OR I can take actual existing objects and “cook” them in order to prepare the natural dye. For example, onions skins are great for fabric dyeing, avocado pits, flowers, carrot tops, leaves, insects, roots, etc. In order to create the dye the aforementioned objects need to be heated to a certain temperature and “cooked,” in which then the liquid produced will be used as a dye bath. The idea of having to complete the domestic task of “cooking” in order to produce the work creates a compelling layer in relation to my interests of woman’s work and domesticity.
I have some concrete ideas that I am going to pursue this week and really hit the ground running. I almost feel hesitant to make something that I want to without having run the idea by someone yet- which is odd, because as an artist I have always made things on my own but I think a little part of grad school has embellished some sort of need for approval into my thinking- but not today! (And no one at CCAD has ever said to me that I need their approval to make something, to be clear). I am excited to really grind things out and get the week going!
On Wednesday I met with my mentor Danielle Julian Norton. Together we spoke about the direction of my work and brainstormed through some potential ideas I was creating. I felt a lot better as we spoke and as our meeting concluded. She really gave me some excellent advice in a way to think about working and art making in general that I hope will help me not only now but further into my career.
Today I also had the pleasure of meeting with Curator Amanda Hunt. Unfortunately I missed her lecture last night because I had work-upon meeting her and seeing how down to earth and awesome she was, I was even more bummed that I wasn’t able to attend. We had a quick 30 minute discussion and she was able to give me some artists to consider and some advice in regards to where I am thinking with going in my work.
Don’t be too literal in what I am thinking of referencing.
Be aware of the spectrum of experiences that could be applicable-not just my own.
I even briefly spoke with her about what I am thinking about for my possible thesis work and her intrigue was encouraging. It was wonderful to get some time to speak with someone outside of CCAD and have them talk through my work and ideas with me. Time flew by unfortunately but nonetheless it was a great opportunity.
This semester has been really wonderful and chalk full of studio visits which has been so helpful and eye opening. I realized last semester I had not really taken advantage of visiting artists and opportunities like this and so I made a promise to myself that this semester I would make sure to really take advantage of visiting artists and lecturers who were willing to meet with students and do my best to meet with as many as possible. So far it has served as a really positive avenue to understand my work better and get more of a holistic insight. I am so blessed to be at a program that offers so many opportunities for growth and exploration.
Also- Amanda was the first person to ever ask me if I was a feminist and in the moment I was almost startled by the question. I felt almost nervous or unsure but proudly answered, yes.
I have been meaning to post on here with updates about my work for the past week and a half but unfortunately keep putting it on the back burner- but better late than never they always say right?
I had my first critique on January 25th, the second week of school. I was eager to be critiqued so early in the semester so that I could hear feedback from my peers and hopefully be able to figure out what type of images I wanted to make and the materials I was going to use. As I said in a former post, I wanted to continue with silks but I was really struggling with making the imagery on the silks meaningful and was hoping my peers could provide some helpful advice in regards to that issue specifically.
For my critique I printed a 6ft. by 10ft. image on silk hung on dowel rod with free range to move and be observed. The image was of a living room interior- still what I would say, a flat, boring image. Thankfully my peers agreed and came to the conclusion that I was trying to be “too nice” in my image making. My frustrations about the underlying expectations for women to work in the home are extremely apparent when I speak about it, so I needed to start to make the same sentiment in my artwork.
Looking back at some artists like Martha Rosler and Sandra Ogel, who had done performance/video pieces discussing this topic in a similar vain, my wheels really began turning. I started to think about some major chores or duties that women are expected to do within a home and broke them down to folding laundry, ironing, dishes, and vacuuming. Beginning with the laundry elements of folding and ironing I thought about making a work inspired by Martha Rosler’s Semiotics of the Kitchen. I have never done video work before so this is my first attempt, but so far, I am very excited about the possibilities it holds. I don’t want to get away from the silks completely, because I really enjoy the metaphor created between the transparency of the silk as a material and the transparency of invisibility of women’s work. I am working to figure out how to combine the silk printing with the video, possibly with projection or installed hangings with video projections coinciding with the fabric pieces.
My next critique is on the 22nd- just about a week away. I am looking forward to having a video completed as well as silk prints to have a nearly full installation. ‘Til soon!
In my last post I mentioned the idea of quilting images together as a means of collage- so without hesitation the process has begun. Luckily CCAD is blessed to have a textile digital fabric printer and even more blessed to have a faculty member, Alice Frenz, who spends 10+ hours with this machine printing things for students. I met with Alice on Wednesday about possibilities and scheduled to make some tests for today. She’s wonderful to work with and today was more than accommodating. We actually made my first full print!
There are a variety of textile materials to print on and I am so excited for the opportunity to print on both cotton and silk fabrics. The silk will allow me to layer transparent images on top of the opaque cottons- allowing for a more traditional collage element. Monday I will print my second base image and then hopefully have the silks by mid week!
Let the cutting and sewing begin!
I have always been a writer, whether its journaling, short poems, or even research papers; writing has always been something I enjoyed. My sketchbooks are consumed by it. My freshman year of college was probably the last time that I bought an actual college ruled notebook to write in and so sketchbooks have always been my resource for not only sketching, but for copious note taking as well.
My sketchbooks are my outlet to be able to work out my ideas and concepts both with words and visual representation. I can make quick lucid sketches that coincide with the words next to it right on the same page. Overtime I have acquired a number of sketchbooks, all serving a variety of purpose. (see below image) My most current sketchbook is used for primary note taking, self reflective questions, and the investigating of ideas. It’s filled with quick scribbled notes, post its stacked on top of words below them, and ideas I hope to eventually all explore. My studio operates in a very similar way. My main table has post its all over with ideas, artists, or concepts to think about and the walls also have reflective questions to refer to while I make my work.
Most women have guilty pleasure in buying too many shoes, purses, clothes, etc. Although I am guilty of a few of those myself, I must say buying sketchbooks is right at the top of that list as well.
*The open spreads of mainly notes are showing pages from my most recent sketchbook. I point them out specifically to show my process of working through concepts and asking myself questions, as well as quotes from art videos I find particularly inspiring or motivational.