David Nash Wood Quarry

 I left work early on Friday to walk down to the 'Wood Quarry' of David Nash. Nobody working but evidence of some interesting works at different stages of development.

 There were some sketches on blackboards which showed how sections of the tree would be used for varied artworks. I particularly liked the ent-like  figures made of branches that looked like they'd walk off under their own  momentum. The column in situ references the pagoda not too far away and also brought to mind the 'totem' qualities in David Hockney's paintings - thinking how different artists could reference similar material ( dead trees) in  such diverse ways.

Walking to Victoria Gate there were some sculptures still under wraps and others unpacked although surrounded by construction fence. Exciting times ahead!

David Nash at Kew - Installation

 A couple of weeks ago the instillation  of the David Nash sculptures at Kew commenced, starting with the winching into position of 'Oculus Block 2010'  outside the Nash Conservatory . The components of 'Chinese Irons, 2010' look like they're queuing up to get in!

 I've been looking forward to this exhibition enormously - the talk by the artist to staff was very popular and he was a very informative and amusing speaker. Much  as I was inspired by  having the Chihuly and Henry Moore exhibitions here , this is of a different order, mainly because he's working on site producing new work.



It gives a whole new perspective - I'm even looking at the skips with a new eye! I haven't yet been down to the 'wood quarry' but will be doing so very soon.



Biro Drawings inspired by Boetti

On Saturday after lunch at the Level 7 Restaurant at Tate Modern went to see the Boetti exhibition. Amazing embroideries of maps but the  monumental  biro drawings (below)" bringing the World into the world"  like indigo ikat weavings were what drew me back to make notes. I had my own attempt ( above) on a much smaller scale and  apart from trying to work out the process , it  brought  further questions (again) about personal mark making.

Questions about the process  jotted down in my sketchbook :

Does direction matter (up and down or side to side?)

How far the lines overlap?

Taking the pen off the paper or scribbling?

where do you start and finish?

Brand/ size of pen ? size of pen 'nib'

How you hold the pen?

Pressure of the pen?

Speed of drawing?

How long you spend in one session?

Quality/texture  of the paper?

What's underneath the paper ?

Drawing guidelines - is there a plan?

Retracing steps, going over sections/

Practice?

This last one made me think of the 'unknown draughtspeople' who actually did the work . Theirs were the individual marks that  brought variation to the work but remain unacknowledged. What did these assistants  think of  what they were drawing?

Likewise the skilled women embroiderers whose work was organised  by male Afghan associates of Boetti , first in Afghanistan then Pakistan . Wonderful stitch mark-making particularly in the seas of the maps. 

Who is the artist- the designer or the person who executes it?



Tate Modern Birthday Treats

Staircase iii Do Ho Su

A day at Tate Modern for my birthday yesterday - mainly for the Boetti exhibition that Margaret highlighted but with other treats besides.
After a walk across the 'wobbly bridge' from St Pauls with views of the 'Shard' with its top among the clouds we had a quick look round  a display from the collections 'Energy and Process'. This included a whole room devoted to this installation of a staircase of polyester fabric and wire suspended from the ceiling. Wonderful attention to detail , even the banisters and light switches, it made me think of pojagi.

Then up to the 7th floor with it's amazing views  for lunch in the restaurant. Not cheap but good value for the quality and elegance - it was nice to pair different wines with each course. The 'stickie' of Muscat  that tasted of treacle toffee and coffee went wonderfully with my custard dessert  and Ian said the cheeseboard was the best he's ever had (and he's had a few!)

 Ian has obviously been around quilters too long. While looking around the 'Energy and Process' display in the section for 'Arte Povera' he asked me whether I'd seen the sculpture of a quilter so absorbed looking through  her stash she's forgotten to get dressed....

Venus of the Rags -Michealangelo Pistoletto 

Rejected!

Hardly the best birthday present - I've just heard my entry for CQ@10  'Indigo Mine' has been rejected. While stressing that mainly dictated by the wall space available  and not a reflection of the quality of the work,  I was not comfortable having to  work from someone elses image and that is probably reflected in  this piece. 

Maybe I was too honest in my artists statement about the struggle I had, maybe the sample (above) wasn't up to scratch. Maybe it was too blue!
I hope for better success with my other indigo pieces.

UPDATE - there were only 23 selected from 61 entries so I don't feel so bad now to be part of the majority not accepted. I  had just enough notice to fill in an entry form for Small Wall Hanging Category at Sandown  quilt show in June so at least it will be seen somewhere!

Distressed Doors - Sketchbook Project Limited Edition Thread and Surface.

 I signed up for the 'Sketchbook Project Limited Edition' a long time ago ( how could I resist the 'Thread and Surface' theme! ) but as usual am only just going to make the deadline of 30 April!
 It was the same Sketchbook as for the Sketchbook 2012 project but I used a rather different approach, constructing complete sheets first ( front and back of same sheet illustrated here) and then  sewing them together into  a book.
Taking 'distressed doors' as my title, it was constructed from used 'colour catchers', treated with either inkaid or Golden Digital Ground and inkjet printed photos. I joined them together with connecting strips of  non-printed colour catchers uisng zig-zag and then stitched them by machine using Madeira Polyneon thread. A different effect to hand stitching paper but still effective.

 I scanned in all the sheets before I sewed the book together so if I wished I could construct a replica - of all the sketchbooks so far this is my favourite. I've also got a few spare sheets that didn't make the final  version. I love the backs almost more than the fronts  and I like how different it looks when bound - unexpected juxtapositions of shapes and colour.

I used this image for my 'textile news' small format quilt ( and it features as 'October' in the Bernina Calendar but it looks quite different in this context.
I might construct another sketchbook on a different theme - this exercise has made no impression on my colour catcher stash!!

Budapest Museum of Applied Arts

Having visited many of the sights of Budapest on a previous stay, during my free morning before catching  the plane I concentrated on the area close to my hotel which included the Museum of Aplied Arts

The building itself is the star, with spectacular ceramic roof tiles and a 'mooresque' interior modeled on the Alhambra , Granada

I'd seen a  couple of the programmes about Art Noveau on BBC4 and they had some lovely examples of glass and furniture displayed . Not sure it justified the 10 Euro entrance fee but then I'm spoilt by the V&A  and free entry to exhibitions with my staff pass!