Category: FMP

Final Major Project. January – June 2019. Entitled ‘Shinrin Yoku’; an exploration of the health and well being benefits of being among the trees examined with reference to the contemporary sublime.

Posted on

Mindfulness & Serendipity

Yesterday, I finished the first layer of plaster on each of the standing elements. I have made 2 x w.90cm x h.60cm they represent the notion of a gate into the Shinrin Yoku space. 2 x w.60cm x h.90cm and 1 x w.60cm x h.120cm (will it stand? is still a question!) these are supposed to reference prospects and thresholds.

I originally imagined just one of each standing piece and two or three hanging ones but decided to make ‘spares’ in order to have enough to be able to up-scale the installation in a large space or leave bits out in a more intimate arrangement. (Atrium? /studio?display options in mind) Also of course, having spares is just a good insurance policy in the event of any forthcoming accidents or disasters! (ever the pragmatist I say to myself).

Today, I have worked on application to the other side of each piece and I am delighted with the contrasting textures visible on the front and back as you look through from different sides.

It is proving to be a difficult day. I just phoned Chris in hospital and found him barely lucid enough to speak – so much morphine – I felt quite tearful. I’m working hard to keep my anxiety at bay because of that AND – still no interim assessment!

The very act of applying the plaster strips to the fabric pieces is quite a calming, meditative, mindfulness sort of experience though – which helps – serendipitous. Being meticulous as I am, about applying the minimum amount of plaster to support each piece and using the minimum amount of water required to set it on the fabric is a way of actually engaging in the minimalist aesthetic kinaesthetically through my process as well as effecting it conceptually and visually in the product. I am pleased by the feeling of ‘integrity’ this invests in the outcome.

It is so important to keep the pieces safe and secure while they are so fragile, and also, to keep them clean. So, where meticulous process is a mantra for today, it is twinned with methodical working practice. I am hanging the elements to dry between each plaster application on the overhead ducting in the studio to keep them clean and safe. There’s a sort of rhythm developing around doing a bit of plaster application; climbing up to hang the piece; washing down the bench; doing a bit of this while it dries…. bringing down the next piece; laying out the strips on it; STEPPING BACK FROM THAT – doing a bit of this …. looking back at the strips to tweek the design and back to applying the plaster. Round and round. Erin thinks it must be really tedious. It is however, quite soothing I find.

Phone Chris again.

Posted on

Developing Elements 13th -17th May #2

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.

Posted on

Developing Elements 13th -17th May

Cement work developing the water feature . I have extended the rim, encasing the strengthening wire frame. Being unable to see the result, as the cement moves through the wire creates an exciting element of chance here. I predict that the rim I have added will be flat and shiny where it runs down onto the plastic sheet beneath and this will contrast with the rough internal surface I made last week …. delightful ‘mud pie’ making sort of moulding with my fingers (reminding me of Dreyfuss’ mountain building in Close Encounters ). I am interested to see whether any wire remains visible when I turn the thing over again, it could create quite an interesting effect exposing the materials and their manipulation.

As I have been reflecting upon the key elements that make a garden with the Shinrin Yoku ambience in mind; the evocation of trees (white fabric work) and dappled light through the canopy (the concrete/collagraphy ‘stones’) and of course, water (the bowl); I realise that there is something missing. That place for pause and contemplation – somewhere to sit. I would like to echo the feel of the concrete collagraphy pieces with the idea of shuttering and those Barcelona motifs. My current intention is to use white clay pressings (speaks with the plaster work on the fabric) taken off the collagraph boards PLUS the imprint of the concrete to combine with cement to make a ‘trencadis’ inspired bench. Thus…. acquisition of some timber supplies to ‘match’ the tile frames.

Finally, cutting the plaster strips in preparation for the white work.

Laying out the strips for structural integrity ( triangle criss-cross the support the fabric) AND a balanced composition. Have decided to ‘paint the water onto the plaster strip for precision – crisper lines to contrast with the rough concrete aesthetic.