2/29/08 Solving Problems
Because one-of-a-kind pieces of art are so unique the visual artist often comes across a number of challenges that need solving before the work can move on or be completed. Of course in this line of work as artist/creator there are no standard "directions" (no one size fits all) and these problems have to be worked out one by one as they arise.
Luckily, I enjoy this type of challenge and in fact find them quite satisfying to solve. (They remind me of the problems entrepreneurs encounter and solve every day.)
Today I rectified the problem of attaching the sheets of paper to the wooden screen. I located the appropriate size grommets and matching nondescript hook eyes, both in a low-key, subtle tone of brushed nickle. This is exactly what I had in mind. I want them be functional but to not stand out. Obviously I want the book itself and the details of the art to be the primary focus.
The paper is made and currently in the book press to flatten the slightly curled edges associated with very thick sheets. Paper for this project was made using an abaca cotton linter mix with numerous plant inclusions I've collected from the marsh itself. These inclusions include several wild grasses, leather leaf leaves and birch bark peels to make sheets that will be thick and sturdy enough to hold up to exhibition. I've selected the off-white, translucent top sheets on which I will put my image transfers from the marsh.
I still have to workout the problems with the map transfers... How to transfer them, where to physically locate them and so on andhow to continue them from one individual sheet to the next. That's my project for next week since this afternoon I must attend to my business taxes.
I also talked to Joe Lurg this week. He is the biogolist at the State Game Area who is currently conducting the inventory and creating the management plan for the Karner Blue Butterfly study. At Joe's suggestion I visited the pertinent MSU website www.msue.msu.edu/mnfi to gather additional details on the marsh which will be used for my artist statement, info. sheet and other promotional materials.
I find it very interesting that the Crooked Lake Marsh is called a "Costal Plains Marsh" - a quite rare and unique wetland community. It is called this because of its characteristics of presenting wet in the spring, drying up in the summer and becoming wet again in the fall. According to the Lurg these wild swings are classic and typical. In response to these swings, the plants that live there have, over time, adapted to a lot of change in the water table and include a mix of annuals and perennials.
This wet and dry cycle is in fact what has intriqued me the most about this space. Each time I walk there it is like I am in a different marsh which keeps my interest peeked.
Luckily, I enjoy this type of challenge and in fact find them quite satisfying to solve. (They remind me of the problems entrepreneurs encounter and solve every day.)
Today I rectified the problem of attaching the sheets of paper to the wooden screen. I located the appropriate size grommets and matching nondescript hook eyes, both in a low-key, subtle tone of brushed nickle. This is exactly what I had in mind. I want them be functional but to not stand out. Obviously I want the book itself and the details of the art to be the primary focus.
The paper is made and currently in the book press to flatten the slightly curled edges associated with very thick sheets. Paper for this project was made using an abaca cotton linter mix with numerous plant inclusions I've collected from the marsh itself. These inclusions include several wild grasses, leather leaf leaves and birch bark peels to make sheets that will be thick and sturdy enough to hold up to exhibition. I've selected the off-white, translucent top sheets on which I will put my image transfers from the marsh.
I still have to workout the problems with the map transfers... How to transfer them, where to physically locate them and so on andhow to continue them from one individual sheet to the next. That's my project for next week since this afternoon I must attend to my business taxes.
I also talked to Joe Lurg this week. He is the biogolist at the State Game Area who is currently conducting the inventory and creating the management plan for the Karner Blue Butterfly study. At Joe's suggestion I visited the pertinent MSU website www.msue.msu.edu/mnfi to gather additional details on the marsh which will be used for my artist statement, info. sheet and other promotional materials.
I find it very interesting that the Crooked Lake Marsh is called a "Costal Plains Marsh" - a quite rare and unique wetland community. It is called this because of its characteristics of presenting wet in the spring, drying up in the summer and becoming wet again in the fall. According to the Lurg these wild swings are classic and typical. In response to these swings, the plants that live there have, over time, adapted to a lot of change in the water table and include a mix of annuals and perennials.
This wet and dry cycle is in fact what has intriqued me the most about this space. Each time I walk there it is like I am in a different marsh which keeps my interest peeked.
