230322 group crit prep
Preparing for first group crit of 2023
Reiterations and resolutions
Creating installation fittings
Gaff tape:
Sewing:
Subframe
Coated wire:
Chicken/fencing wire:
Bubble wrap cushions:
Broadening practice
Following the Master of Photography program, I am determined to broaden my analogue photographic practice and am at a complete creative loss. Dom has provided me with exercises that aim to prompt creative focus and direction, leading me to explore lumen printing and zone plate photography. I am also deepening my study of photograms and pinhole photography.
Recent works include a photogram of a vintage threadbare denim jacket (Figures 1–2) and a series of self-portraits captured using a 4x5" large format pinhole camera (Figure 3). Planning to capture lumen prints of the jacket to compare how the colours and tones in the final images correspond with the photograms and researching pinhole cameras, including how to make them, is inspiring.
Figure 1. Untitled photogram, 2022
Figure 2. Untitled photogram (detail), 2022
Although creating artworks from items and events (Figure 3) that are part of my everyday life is engaging, it is also confronting, leading me to reflect on Dom frequently asking, "Yeah, but what do you want to make?" prompting me to reflect on past work and motivations. What do 'I' want to make indeed.
Figure 3. Zo Damage, Tea and falafel (self-portrait), 2022
Keywords
MFA, Studio 1, Photogram, Lumen, Pinhole, Cameraless photography, Film photography
Biotextiles
Exploring visual iterations of “networks” I have been researching biotextiles, particularly mycelium structures, grown for artistic creative practice (Snoad 2020), although there are the ethics of manipulating organic form to consider. In reference to fungi, it has been suggested that I research psychedelic philosopher Terrance McKenna (Lamb 2021). First, I do not drink alcohol or take mind or mood-altering drugs (prescribed or otherwise). Second, after a precursory look into McKenna, I believe it is fair to state that even if I did use drugs and alcohol, his writing appears (at first glance) to be drug-addled nonsense and another conversation that I am not willing to be part of. My brief research into biotextiles applied methods in creative practice has led to two topics that have no interest to me and have decided to let go of the concept entirely.
Mycelium Lace, Design & Living Systems Lab, Carole Collet, 2015 (Ræbild et al. 2018)
Faber Futures | Void, Natsai Audrey Chieza in collaboration with Ginkgo Bioworks, exhibited at Hubweek, Boston, 2017 (Ræbild et al. 2018)
Keywords
Development of practice, DOP, MFA, Studio 1, Biotextiles, Biotechnology, Posthumanism, Transhumanism, Terrance McKenna, Mycelium, Fungi
Bibliography
Collet, Carole. 2021. "Biotextiles: Making Textiles In A Context Of Climate And Biodiversity Emergency". Materials Experience 2, 207-226. doi:10.1016/b978-0-12-819244-3.00029-6.
Lamb, Robert. 2021. "The Stoned Ape Hypothesis: Did Magic Mushrooms Influence Human Evolution?". Howstuffworks. https://science.howstuffworks.com/life/evolution/stoned-ape-hypothesis.htm.
Ræbild, Ulla & Piper, Anna & Nimkulrat, Nithikul. 2018. Soft Landing.
Snoad, Laura. 2022. "8 Makers Using Biodesign To Grow Their Work". Crafts Council. https://www.craftscouncil.org.uk/stories/8-makers-using-biodesign-grow-their-work.
Thacker, Eugene. 2003. “Data Made Flesh: Biotechnology and the Discourse of the Posthuman.” Cultural Critique, no. 53: 72–97. http://www.jstor.org/stable/1354625.
Painting
I have been experimenting with paint. In the process of a said experiment, I painted on one of my archival pigment prints, hated it, tore it up, then salvaged a section (it was a huge print) and stuck it to some cardboard I had lying around my uni studio. Stepping back I thought, “that's better”. Painting does not in any way shape or form come naturally to me, and I don't know how I feel about sharing this piece. But that is exactly the point.
Fragile, 2022
Acrylic on archival pigment print and cardboard
594x841mm (approx)
Keywords
Painting, Development of practice, Fragile, Studio 1, MFA
Textures and colour
Preparing and making photogravure [1] plates, inspired by and repurposing printmaking artefacts.
Artefacts
Photogravure (photopolymer) printing plates are placed on a magnetic sheet taped to the workbench, stabilising the plate and preventing it from slipping during the inking process. A sheet of newsprint is placed between the magnet and plate to help keep the workstation clean and enable lifting the plate off the magnet post-inking. The black marks on the paper in Figures 1 and 2 clearly show the position of the photopolymer plates and the rub-over of ink from the buffing or polishing in preparation to print. The “under-sheets” are then discarded after two or three uses. The traces of ink are captivating, beautiful and immersive.
Figure 1
Figure 2
Figure 3
Figure 4
Footnotes
Photogravure etching is non-toxic and without use of solvents, or acids. Images are transferred directly onto a photopolymer plate with the use of an inkjet printer. The plate is then exposed using UV light, processed with water, and printed via an etching press (Glattauer 2021).
Keywords
MFA, Studio 1, Development of practice, Photogravure, Printmaking, Artefacts
Bibliography
Glattauer, Silvi. 2021. “PHOTOPOLYMER PHOTOGRAVURE - WEEK-END WORKSHOP.” Melbourne: Baldessin Press. https://baldessinpress.com.au/upcoming-workshops/photopolymer-photogravure-july2021-wgxz.