Thought train.

I met with Tom Martin today to talk about turning my collage work into print. I think it could be interesting, but don’t want it to lose character when flattened. Even as I type this I think; “but I make digital collage sometimes… the elements aren’t exactly stuck down to the page…”, but there is a difference in the transference of taking an image/photomontage, scanning it and turning it into a half tone image and then scene printing it compared to digitally cutting elements out and arranging and pasting. As Tom and I were talking and looking through some books, I mentioned about wanting to make backgrounds to my collage to add interest but not swamp or take the attention away from the collaged elements, we talked about perhaps water colouring my back ground, printing over, then adding collage, the more the ideas came, the more it became apparent that there doesn’t have to be a strict routine to making my images. A lot is left to chance, which I quite enjoy, but then if it doesn’t work for me, rearrange, print over, cut up again. I think I will experiment with bringing print into my collaging. I can’t imagine making a full piece then turning it into a full screen print alone, but it could really play an interesting part in showing some contrast and depth. 

I do still need to remember advice I was given; “your work is better when it is kept simple”. I agree.

I also mentioned my idea for my Limited Edition and mentioned that I felt it was important how I present this work. I’m still undecided about having stand alone collages or making a concertina book. I feel like if I make the stand alone pieces, I don’t want them framed, or mounted on a wall as this is against how I feel about the subjects. I feel that would be putting them on a pedestal, showing/suggesting respect. I would rather have them encased in a box of some sort. So they could be locked away. Like a little box of horrors. He showed a couple of his books and boxes to me again and we spoke about there being an impact on the viewer on seeing how the work is encased and upon opening it. That there can be so much meaning added to the work by means of how you present it. It is like judging a book by it’s cover. You can also play on irony. I am liking the idea of it possibly looking like an official document. Or perhaps a briefcase (but this has been done before, so something different but along these lines) with the book inside. Formal looking, until you open it. The idea of a concertina book is standing out to me more and more as I bought a book Tom recommended in a previous talk, a book on different ways to bind. There were concertina books that have envelopes, pockets even, which could help add to the narrative. I’m rambling now. Typing out loud.

He advised me to look at these;

Francis Davidson; background ideas.

Fluxus; for containment.

Fluxus Codex; reference book.

Susan Hiller’s work.

Art and Artifact; reference book.

I’m excited for this. But I don’t think 5 weeks is going to be long enough for me to come up with my finished product and be happy with it.

 

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