I keep coming back to fragments of knit lace retrieved from Herbert Niebling charts. Or they keep coming back to me.
In silk fabric strips:
In hand spun silk and flax, suspended in a web:
Revisited later, in fine merino, in a hand made bobbin lace cage:
Alight, 2013. Photo Josh Wells
And left in a birch tree at Rud Artist-in-Residence, Dalsland, Sweden:
Lately, reconsidered in crochet cotton, with mulberry paper.
Another assignment is completed and installed. It was a process of trial & error, and very low tech (papier mache & wire).
Completed bird-netting armature, before papering over.
Upright armature, overlapping layers of netting.
Testing the paper-covered form on site.
Starting the first panel of wire lace.
By the time I’d done the seventh panel, I’d worked out how to control the tangle. Next time, I will do fewer, wider panels.
First wire lace panel completed.
Completed wire lace, resting.
Installed under the sheoaks at Gomboc.
Gomboc Sculpture Park and Gallery is in Middle Swan, and the annual sculpture survey opens on June 6th.
Fractal branching structures installed for assessment:
Balsa branches in a pine cube
Balsa branches on a broomstick
Both structures in the sculpture studio
Tuesday was productive; exciting even.
Five fractal branches spiralling up a wall
I tried out the balsa ‘antlers’ (fractals) in sculpture.
The excitement came later, when I unbundled the smelly results of a month in a metal bin:
Unwrapping the storm cloth bundle
After drying and picking most of the debris off, the storm cloth looked like this:
The dark curving lines are mould.
Gomboc gallery sheoak.
There is a youngish stand of sheoaks on the far boundary fence at Gomboc Sculpture Park. I love their form, their fruit, the cushion of needles they leave on the ground and the sound of the wind whispering through them. And so I banged my numbered peg into the ground in front of them, to reserve them for my sculpture in the Survey in June. The proposal is now done and approved, and so to work.