The Parts II

LITERALLY fabricating the Kelp Girl:

Positions, bends, possible poses:

Dirt illusions and bodies:

Beginning a workbook on the study of bodies:

The materials for making;

Hessian & rope... objects evocative of the sea and of ware.

The washing line under the table - looking at staining 5 types of fabric I've picked out with various fluid forms - (coffee, tea, mud, ink, charcoal and acrylic paint).

This done with much thought about rag/holy wells:

Unstained 5 rag types knotted around my pretend twig tree -

to see which fabric type knots best around the small natural arms of things. It would do no good to make the kelp girl and her look out of place in ways I did NOT intend:

My space - hanging a long wayown my wall is the above rope I spent a ridiculously long time unwinding. It has such a good tacticle, emotionally evocative, instantly symbolic kind of feel.

I've been looking at Anselm Keifer's use of human hair in his artwork, and a phrase that seems ever-present in reading about him - 'The Ubiquity of Ashes', which I think is such a succint and beautiful phrase; the actual language sounds good as it rolls of the tongue and breezes about (I think it kind of crashes like waves...) but also such a potent image - just like in 'Hurt' by Nine Inch Nails where he sings 'you could have it all, my empire of dirt...'. Also reminds me of Miro's works where he's bound thick rope through the canvas or whatever it is. Now, those pictures blew me away when I saw them and I can't really explain. Largely though, not DESPITE these things - I think it's all very much connected - it speaks to my great love of trash and accident. Dirt, dust and time.

Keifer - 'Rapunzel':

Miro - 'Rope and People I':

More precise, actual work will follow.

I'm closing in.

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