My seemingly random practice is as ever a process of experimentation. At present I am subjecting materials to small-scale trials, focussing on surface, frame and text. Using a paper shredder to shred writing that I have produced is essentially a process of abstraction. Each line shredded becomes individual to itself with no context or relation to anything else. When combined, however, they form a completely new structure, both in object and written form. Weaving the shredded paper together created a new ‘flat’ image, made up of text but not necessarily easy to read. Each woven square can be isolated and looked at as an individual image, and all of the squares combined form a grid which becomes a series of abstract black and white shapes. Taking this woven structure from a completely aesthetic point of view, it is possible to ‘de-code’ what can be seen into a series of black and white boxes. This binary approach transforms the letters into black squares and rectangles based on the shape and proportion of each letter or word. The result; a grid formation of text, abstract from the letters and words yet still ‘readable’ as a form of data. The process of creating the grid was an active procedure of ‘reading’ the woven paper, but not the actual words present, merely the form of the letters physically present on the surface. Using the shredded paper within a container has allowed me to distil the words and lines in an arrangement that takes a 3D form. The strips of paper take on a new dimension with the interaction with each other and with the container. This process acts as another viewfinder to select words and phrases from what I have written. The 3D form has multiple aspects of the words that appear in different directions and orientations as they intertwine; ‘woven’ but not in the strict sense that can be applied to my previous weaving attempt. Within the container there is an interaction between positive and negative space, negative space can become another viewfinder to isolate more linear compositions through closer inspection. Introducing the element of kinetics into these containers creates another way of transforming the dimensions, and ‘flattening’ the form back into a 2D image. The lines of paper and text become stretched as the photocopier moves across the moving object. Some words and phrases repeat themselves, whereas others become distorted to the point of becoming unreadable. The nature of the light against the glass jar creates additional planes across the text; the form has been flattened yet is no longer just text on its own.
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AuthorThird Year BA Hons Fine Art student studying at Falmouth University Archives
April 2017
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