Artist Book: one work comprised of two parts, each a seperately bound (un-jacketed) book.
Installation: Can be installed in a number of ways
Printmaking: Collograph, etching, aquatint, chine colle, red wine and coffee
Title: TBA however it might be…’emotional void’ / ‘Core Void’. I would love your ideas for a title.
Category Archives: COFA – Finished works (only the worthy)
Artist Book: one work comprised of two parts, each a seperately bound (un-jacketed) book.
Assessment 2: Mixing Your Metaphors Miss-Communication, 2014, Katherine Kennedy This task encouraged interdisciplinary practice further to printmaking such as digital and photographic processes, craft, found objects and installation and also incorporated innovative methods. Alternative substrates and matrix based printing methods in the final work effect the reading of the work as derived from the shared dialogue between the methods and materials utilised, the action of making (Cooking, sewing, connecting and creating) and the printed image itself. The obvious printmaking method engaged in the final work is silk-screen. However an unconventional print method was discovered earlier this year using red and white wine soaked facial tissues and heat. The use of wine and tissues as materials and cooking as a method of imprinting upon the facial tissues (random marks from faint to burnt) is an example of how a process communicates meaning such as emotional navigation and when combined with the images of women in aprons working, we sense the domestic. Domesticity is further evidenced by the curtain as substrate fashioned out of these facial-tissue-heat-prints. Also relevant are the notions of chance, expectations, failure and navigation. This work is a development upon an earlier piece, Emotional Barrier, 2014, whereby a barrier can be interpreted as a physical presence to block or impede or as a reflection of miscommunication. The formation of a physical barrier, albeit a whimsical one, is significant and has been extended from the initial thin suspended piece to almost 8 metres wide. Where Emotional Barrier was installed in a university hallway impeding pedestrian traffic to and from the studio space and forcing people to walk around it, Miss-Communication differs for its installation location as a little used, out of the way space. It is therefore experienced at a remove, intended as serene reflection, to walk amidst or view from afar. Three silkscreen printed female figures have been repeated to pass on a telecommunication cable from one woman to the next. This one woman is every-woman as she both handles and personifies a life-line. Circular stretched substrate skins also suspend from cable before the curtain in the upper half of the composition. The use of Cable and Cable-ties are symbolic of communication and an aura of disenchantment hangs with the curtain due to the blindfolded women, aproned as though shackled, the burning and the morphing of woman with her environment. However, beauty is found in this surface which allows the light to paint and reveal subtleties within the substrate.
Printmaking: Planagraphic Systems and substrates
Assessment 2 – Germination and Imagination
This work responds to an Assessment Task brief which encouraged other approaches to lithographic and layered image production incorporating Silkscreen printmedia. To germinate is to cause something to originate, like the simplicity of seeds developing or the complexity of bringing something into life, an idea coming into being or thought. Germination has a sense of new beginnings. The start of something new…, a new
approach…, a new thought…, a new application…, thinking laterally…, creatively, using your imagination.
Here is the work installed at UNI for assessment today. There were two embroidery looms suspended from the ceiling in front of the two wall mounted works. The looms had the same delicate hand-made tissue stretched across their oval shape and were positioned in their horizontal orientation subversive to the recurring vertical orientation of the oval shape. I did not get an image of this installed so you will have to use your imagination…they were hanging some 50cm in front of the works
Assessment 1: Printmaking: Planographic systems and substrates
This work responds to a UNI assessment brief outlining the notion of ‘barrier’ to be interpreted by each student in order to produce an image using the idea of the barrier. It could be visual, physical or psychological and using the scope of the theme I was encouraged to understand how artistic concepts can be applied, along with research skills, in creating content for print related (Lithographic) work. A barrier can be interpreted as a physical presence to block or impede, a reflection of miscommunication and more.
My finished piece is a physical barrier albeit a whimsical one. As a curtain extending from the ceiling, it was installed in a university hallway impeding pedestrian traffic to and from the studio space and forcing people to walk around it. hanging before the curtain is a second layer some 40cm (approximately) in front of the curtain as a plastic sheet with an oval shape cut out of it.
This overall large rectangular format with the oval extension references the tissue box face and the hole through which you pull out the tissues. The curtain itself is made up of red and white wine treated facial tissues adhered to a larger sheet as a plastic backed facial tissue drop sheet. smaller pieces were worked into the surface sometimes as additions, sometimes as subtractions allowing light to inform the finished aesthetic as an important element. These shapes and textures again reference either the facial tissue fibers, red and white wine, and the flat shapes which tissue boxes make when disassembled. Most Important in this work was the lithographic print which I wanted to be harmonious with all the other components. This print itself reflects those same above named shapes and is printed on butchers paper to aid in it not taking over the final work but instead blending in uniformly.
As the concept of an emotional barrier is largely ephemeral, the challenge was to create a tangible artwork which is indicative of this without being too physically substantial or solid. I believe I achieved what I was aiming for and the magic of installation day provided the only available installation space. This was within a ceiling light bracket which coincidentally was the exact fit for the width of my two curtain rods and spaced them out perfectly regarding the depth between the two. The light itself highlighted the transparent quality of the curtain which is a significant conscious element of the work so this was most advantageous indeed!
More images below!
ASSESSMENT TASK 3: Self-Directed Project
The conceptual basis for this proposed work is informed by balance, relationships and sex and the interrelatedness of the three. Recurring motifs are tissues and tissue boxes, wine and central core imagery as associated iconography. The notion of depth or void must be addressed for the inherent intangibility of references to emotions and other symbols.
Lithographic and screen print media explorative works will be collated to form an installation of works. A multidisciplinary approach has been taken to include other elements such as fine handmade papers, woven facial tissues, framing and or mounting, sculptural inclusions, possibly encaustic artworks and more or less as the aesthetic develops.
The format for the work is somewhat disparate as it incorporates several elements which are seemingly independent however are all installed together on a grey (for ease of viewing transparent qualities) wall at varying depths. Components will be ripped, mounted, framed, revolving, and will have a visual mind-map overall effect.
The finished installation includes lithographic, Silkscreen and Intaglio printmaking processes with lithographic and silkscreen foremost regarding the spatiality of the piece. Prints are on both butchers paper and high quality printmaking papers with the assessable prints mounted on foam core and other apparatus extending towards the viewer.
The overall format of the installation is presented as a square indicative of the top of a cubic tissue box dispenser. A round embroidery frame hangs in front of this, centred and supporting a transparent plastic sheet which has a cut through the centre, with the flaps drawn back. This creates an interesting depth of field allowing the viewer to peer through the hole at the installation.
Both oval and circular imagery reappears throughout prints as intentional iconography as does the tissue box at various flattened states and shapes. The reference to wine is inferred this time by the limited colour choice of soft neutral yellow and burgundy red referencing red and white wines.
The resolution of this work differs from the proposed idea for various reasons. Those ideas not present in the final work will undoubtedly inform work which is to follow shortly. I am happy with the outcome and feel I am learning more about broader presentation methods for printmaking in general particularly in an increasingly contemporary environment.
Here is what I proposed:
Self-Directed Project – Proposal
The concept for this Assessment is a continuation of multidisciplinary work regarding balance, relationships, sex and emotions. Or put more directly, what happens when the vulnerability of interpersonal interactions topples over and the emotional results which ensue.
The mediums incorporate existing and newly begun zinc etchings, woven white and red wine treated facial tissues and possibly the solid cast tissue cubic forms. The new prints for the installation will be
made up of various tissues box geometric shapes in their unfolded states with ovals and circle openings which are inherently female and referencing the place from which the tissue is pulled out of or where fingers enter. These will be achieved by various intaglio and relief techniques and processes such as aquatint and sugar lift on zinc plates, viscosity colour rolls, chine colle and perhaps a la poupee. The format will present as either an installation of separate prints or upon one large sheet of paper dependent upon the developing aesthetic.
Hard Cover Concertina Book Form
Outline: designed and created from several demonstrated options involving concertina, accordion and flag book forms with perhaps pamphlet-stitched sections.
Result: This is my second artist book which I have made for my Artists Books Elective at COFA and I am really happy with it. It incorporates many of the requirements outlined in the assessment brief such as the concertina form, 3 dimensional considerations, is structurally sound and both stand and close allowing the covers to protect the internal pages. The one thing which differs is the cover lid flap, which does not close. This is an aesthetic decision although a surprise in the making of the box form.