I have been developing a body of free hand screen prints. Using a small squeegee I have been tracing random lines across the screen to produce abstract outcomes. The more that I use the squeegee the more that the history of previous marks comes through in the prints. No two can ever be the same as the ink on the screen, and therefore the resulting prints, are continuously changing. Each print contains parts that are more visible than others, highlighting certain parts of the text whilst other parts are obscured by the ink or become faded beyond the point of recognition. When compares alongside one another however you can see the relationship between the prints, and where parts remain hidden on one they are highlighted on the other. If you want to grasp the whole image you have to look at several of the prints in succession. I have tried to stretch some of these prints onto wooden frames to see how they reacted with the wall space they were hung on. I think that together prints with minimal printed material work well, however the denser the print becomes, the more that it is needed to sit on its own. Printing onto fabric has produced different results again, the resulting prints are lighter and almost come away from the fabric’s surface.
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At this stage when I am struggling to find a direction I come back to a question I was asked at the start of the year: “How would you occupy a building with your work?” In terms of developing my work for display, I need to approach the issue with this question in mind. I have been looking back at my earlier attempts to ‘occupy’ a space using a single line of text. With enough time I would love to extend this piece to occupy more of the building I am working in, although the problem I am facing is what text I should use to fill the space. Initially I used information I had written about Falmouth University seeing as I was working in one of their buildings. I am unsure whether to continue to look into the history of the building and the institution or to take the focus of the writing elsewhere. I have also recently been looking into the possibility of more sculptural endeavours with laser cutting and milling, but I also want to explore the potential of free standing pieces which can occupy a space on their own. Fiona Banner’s full stop sculptures are an example of expanding text beyond a state of normal reading- but by examining only the punctuation of different typefaces and blowing them up in a sculptural form to exemplify their differences in even the most simple of signs. I wonder if my laser cutting experiments were to go ahead whether they could occupy the floor space with as much presence as these forms by Banner. To me sculptural forms often cry out for further interaction, from light or manipulation of surface. Won Ju Lim and Shin-il Kim both use light and projection to further expand their sculptures; stretching their reach with paths of light that are obstructed in part by the 3D forms they are projected through. It more active form of information rather than a free standing sculpture or projected image. Perhaps this is how my printed images can activate the space they are in, by being manipulated so that light can be projected through them, or they they can be projected onto another object. Shin-il Kim also uses multiple panels fixed to the wall to bring information out from the flat surface of the wall. Angles and corners keep recurring in my work and in my presentation of my prints, so perhaps this is another way that I can manipulate my existing work so that it is more ‘active’.
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AuthorThird Year BA Hons Fine Art student studying at Falmouth University Archives
April 2017
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