We had a giggle when Jonathan opened our discussion with the comment "Well, you're not short of work, are you? he then said that it was lovely that I'd kept experimenting, even in the midst of aiming for something experimentation is still a core theme in my work. We discussed the huge lithino pieces that I finally printed from and I explained some of the chemistry and theory to Jonathan. This led to talking about the soap ground etching and tusche etching that I want to do but can't get hold of the right tusche so might have to bring an etching plate to CSM if I can escape for a day. It occurred to me afterwards that I might be able to source some at my local printmaking studio. I've emailed the technician to see whether they have it as popping a few minutes down the road for it would be much easier!
We talked about my use of multiple techniques and how I seem to shun the simplicity of sticking with one technique and perfecting it. The example we discussed was the lithino and how I wasn't interested in the linocutting part of the process, I just want to do the lithography! I tried really hard to keep an open mind but I just didn't want to cover up all the lovely litho marks by cutting the lino and printing on top! Similarly with the monoprints using things from the forest, I told Jonathan about describing the three types of print you can make to the picture framer who was very enamoured with what they had framed but I explained that it's so simple even the children can do it. The main skill is in rolling out the ink and placing the items in a nice arrangement. There really is nothing to it, but because natural forms are so beautiful they really are wonderful results! The experiment I was doing with the paper, I'm thinking of using some of the monoprints to embellish the bottom of my big tree creation.
I said how much I wanted to do a mini maquette for my tree but it's not possible so I'm just going to have to go for it.
Jonathan posed a big question: Can I do more than 1?
I said I was planning one big standing tree, plus a concertina book as a 'log' then possibly a horizontal one lying. Jonathan has noticed something amazing in the D space - there are two large concrete columns which might make amazing 'props' or spaces for my creations. They seem to be creating the possibility of being used. I feel really excited about these - it would give me the possibility of multiple 'trees' without taking up space that my course mates need. I really want to exhibit multiple trees but I've been worried about taking up too much space so this would be a wonderful way of getting around that issue.
We looked at the video of the space and discussed the columns. We were pondering fixings and how they might be attached. I really like the idea of being able to pad out the columns to make the surface more uneven. They offer the opportunity of changing it into something solid and more supported in contrast to a completely free-hanging one. I love the idea of the free hanging one being in the window with the light being able to pass through it slightly and the others being more 'solid'. The window ledge also reminds me of the edges of the ditches that the tree trunks spill into.
We noted that multiple trees would substantially increase my workload but I feel like this is a challenge I rather like (I seem to be thriving on enormous pressure at the moment!). I just need to do a lot of printing. We talked about this being a piece that feels really free and experimental, made out of a huge pile of not-perfect prints that individually aren't overwhelmingly amazing but collectively can make something beautiful.
Jonathan said to ensure that I concentrate on making one really amazing one and only make more if I can. I mustn't take the materials for one and try to stretch them into two or three trees.
We discussed a couple of other spaces and how the darker area probably wouldn't suit as I'd take up too much wall space that others would need. The other possibility would be to use mine as a hanging boundary between our space and the next course. I'm keeping an open mind but suggested that I tend to head towards natural light. We noted that even if I didn't use the concrete columns the fact that they are there would echo my piece so it makes more sense to head over there for my piece.
I'm really excited about participating in the building of the show. My pieces (I hope) will arrive flat and so should be fairly easy to assemble and hang which will enable me to be helpful to everyone else. We talked about building a wooden frame and using steel 'thread' to hang from. Jonathan suggested that the earlier we get that up the better so I've got time to play with it a little.
We discussed the possibility of it needing an armature or support inside and the need to test it before hand. We also talked about maybe doing some smaller ones for the window rather than one big ones. The emphasis needs to be on the one really good large one, once I've perfected that then I can think about making others.
We thought about using the window to play with what could be seen from the inside and outside - graffiti on the log end only being visible from the outside, and using the log to link pieces.
Jonathan was really encouraging me to apply to Woolwich with a sculptural piece and reapply to the New Contemporaries next year as well as a couple of the environmental prizes available from CSM this year.
I think my main take-aways from this are;
Focus on making one really excellent piece before trying to make more
Consider the use of the space and what's already there architecturally that might compliment and mirror my piece in lighting and shapes as well as space
See this as an opportunity to play and make version 1.0 of what this could be in the future
Enjoy and participate in the curation as an amazing experience
Take one to the forest and photograph it in-situ
