I am thrilled with the way this has turned out. How exciting! The exposed wire is a pleasing effect and the relationship between the raw surface and the flattened rim celebrated the different qualities the cement has .- (rather reminiscent of Takamatsu’s ‘Oneness’). The exposed wire squares, the cement/collagraph tiles (squares) …… a grammar seems to be emerging within the language of this Shinrin Yoku piece …. not just about ‘squares’ but also the way the ‘mesh’ of the materials is shining through. Thus a decision about how to handle the plaster bandage application to the fabric. It’s not just about a crisper finish (using the brush to ‘paint’ it on and the regularity of the way I have cut the strips but also to allow the mesh of the bandage to reveal itself. In the trial pieces, I smoothed the plaster out.
But, now, I am going to adapt the application to create a meshy effect (below) for the reasons stated above.
Reassuring and quite satisfying that comments are being made in the studio about the ‘refined’ edge I’m starting to achieve with the fabric & plaster pieces – by WO and PT in particular. Madeleine says ‘The tree veils are beautiful’ and we chatted about ‘the feel’ I want to achieve beginning to emerge as more of them hang drying around our end of the studio. KT and I discussed the lovely rawness of the concrete pieces and that it would be interesting to photograph some of the elements in different locations before the final installation is assembled. Weather dependent – I will try this, particularly since realising (after ‘Mind The Gap’- how differently you think about your work when you see it – not just in your mind’s-eye, not just ‘on the bench’ , not just in the photographs you might take of it, but ‘out there’ …. somewhere …. wherever. Another stimulating thing arising is PT’s suggestion of the potential of getting a big piece of tree to offer up into the installation ….. and NO! Penone couldn’t be further from my thoughts …. I lie.