Gordon Watt's for some glass work (Leith Hall experimentation & Preparation) & Mary Cane - completion of the Negotiation costume + photo shoot and Proposal for Aberdeen Artists hand in.
Gordon wasn't there when I arrived at 11am. I'd headed to his place from Kinker to Alford, and saw him in his car on the way, I executed a nifty U turn, and tried to catch up. I got to the studio, without seeing him once. He wasn't there... I start to write a note, explaining my travels, and that I was off home...and he pulls up. He'd popped to Kinker for his lunch!
We set to work on some wet clay to make a mould, for a plaster cast, so we can slump glass over it. The plan is to make a glass slumped track / trough, we then "tack on" a flat glass back, bingo, we should have a glass panel, with a "tube" (tunnel) for the water to heat up, and pass through it, delivering warmed water, for needy, semi tropical plants in a NE garden...
I carve out some shapes in the clay, we're experimenting with depth, proximity and angles. Gordon mixes up his new ceramics plaster (faster drying), and boy oh boy does it dry quickly! After an hour or so, we pop the semi set plaster out of the clay, and I retouch the glitches, round off corners, remove "overhangs" etc...the "positive" looks fantastic. I leave it with Gordon to dry it properly, and he's then going to experiment with slumping glass on it...that'll be the decider, if this is all going to work, so we can make a radiator for a garden...watch this space.
I head home, Pops and Gabs are out for a stroll, but are back within 5 mins, we have our Tea, Pops finally has a poo, that's been 4 days! they are getting more solid...ho ho.
I head out to Mary's and she's dyed the cloak black, made more "fixtures". She passes me some black tights for my face, I've finished the mask (more odd wire to obscure / defuse the shape of my head) and we take some photos...
We also find out that Steve Hollingsworth will be in tomorrow...such short notice, to keep us all on our toes....I've got to understand myself, what it is I want to say to him, about my "developments" ("hearing aid for a shed" - my entry for "breath of fresh air" - Lim BUll's NEOS at Jane Frazer's. etc...) I have checked out Anthony McCall on tate moderns podcasts, talking about cones made of light... I Think Steve will be interested in a discussion about cones...What functions, metaphors, histories, purposes, ideas cones have. I think I am feeling confident about this work. I may have said in the past, my only fear is it is an unrealisable goal. It's large, may be expensive...It may be a steep learning curve, but I have all summer to work on it. Perhaps this could be my end of year / MFA show? It's got meat on the bones...
I've been reading the "Art in Theory" book, Peid Mondrian talking about De Stijl, "truth" (in art), nature (or natural representation being pointless), "plastic art". I hear him, I understand his arguments, but (like the musician conversing with him), I feel that using ONLY vertical and horizontal lines can only go so far. He'll paint himself into a corner!...and did. I need to read more to understand the more complex theories of the early abstractionists, Mondrian is perhaps an extreme example to take for a starting point. Even though my "you and I" installation was "just squares" (vertical and horizontal lines!)...
There is some correlation / relationship from "my squares" to the real world in which they are calculated from. Mondrian wanted to remove and link to this natural world, where representation of it was futile, or should be left to poets and writers, as the true essence of painting was Form, Colours and Composition, without the "distractions" of content (know, assumed or otherwise - or, to put it another way, look at the paint and composition, without thinking about what the "picture should be of" ( A tree, a nude etc)...
Listening to : boards of Canada - Maximum-Pour-Les-Oreilles : low - drums and guns
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