|On the stairs, keeping an eye on|
the block- Junior, faithful
assistant throughout the
|A memento from the moment the block was finished|
...Just in time to get a phone call that the event has been postponed due to weather (bummed, of course, but a call I totally support - can't have people working on metal equipment with any chance of lightning, and rain is the bane of all works on paper). I was looking forward to meeting and working with the other artists, printing on the new custom press and, of course! seeing the print this block would produce, but I have faith that it will come together down the road.
On the down side...the chance of having a print from this block in time to take with me to the show in Georgia is now 0. I feel badly about this because the concept for that show is a fantastical landscape, and it would have been a good addition. There is plenty of other work for the show so it's really not a problem, but about 9 months ago, when I set out goals for what I wanted to do/make for the show, there were 4 things: a full scale figure, a wing, a unicorn, a tree... and it hurts a little that I got close, so, so close...
|I told myself, that I could simplify the borders to get it done on time...(haha).|
|but with these, because I was up against the clock, I|
can say for sure that each one took about 2 hours
to carve. There are 4 (doh.)
|But I couldn't bring myself to edit out these|
(totally superfluous) designs.
Usually, I have no idea how
long a particular thing took to carve...
|One tricky thing was keeping track of what branches are in front of others (imagining|
how it works along a z-axis and trying to show that).
|A picture that does better than all my words to explain why rushing is a no go - carving the edges of that tracery - o my.|
|This is one of my favorites |
- from the tomb of Eleanor de Bohun,
1399, in Westminster Abbey
The Nuremberg Chronicles and other 15th and 16th century Northern European prints are a big source of inspiration for me, but as I was working on this, the shape and format also reminded me of brass rubbings from Medieval British tombs. I found a good book of them that I love love (Catalogue of Rubbings of Brasses and Incised Slabs by Muriel Clayton for the Victoria and Albert Museum). Not only do I like the way they look, but I also like the way the art is diffused between different iterations - there's the brass relief sculpture, and the rubbing - it's designed to lead to more than one type of art-result [hmmmmmm.]
So... once I got word that printing the large block is on hold for now, I needed to immediately pivot and address the other landscape elements for the show so that the Magical Land of No is not completely without vegetation, haha.
I went full steam ahead on the in process plants.
Close, Closer, Closest:
|This is a neon green that that camera just says "no" to capturing - between the neon colors, the metallics in the ink and thread, and the scale with layers of detail, these have to be close to the least camera-friendly things I've ever made (Eep.)|
|This shows the way the screening around the paper is semi-transparent to help the transition from the landscape to the wall|
|I think the marbling in the flowers turned out subtle, but lovely :).|
In non-art news, my little Honeybear continues to grow! Look how fluffy her tail is getting :). She loves "researching" vegetation with me.
Favorite (non-color corrected!) flowers of the week - Dianthus, Petunia, Delphinium, more Petunias, Calibrachoa