Following on from last week I've been experimenting with ideas as to where to go next.
I've been representing the Bathroom Crack in etching, together with the mess there.
Zarina Hashemi's prints of the crack represent the political dividing line between India and Pakistan; Doris Salcedo's crack at the Tate Modern Turbine hall represented segregation and racial hatred. My etching of a crack represents purely and simply a crack. It was made by tearing paper in two and tracing the torn edges of each half, open biting to deeply indent the crack, then aquatinted it to darken it and make it more prominent. In a way this construction is a bit like the construction of Salcedo's crack, hers of course on a larger scale. The "splodge" mark to one side was made by pouring acid resist onto the plate, much like you might pour or spill toiletries onto the bathroom shelf.
I also tore up some flooring lino, inked it up and printed it directly - again to be the crack:
However, I'm abandoning the etching - it doesn't have the impact or interest to be sustaining - it's too derivative. The lino was a quick experiment.
I also looked at the frayed carpet and produced a series of photos showing it's decay and journey, linking it with a description of decay in the domestic environment, through it's occupation. Here are pages of my sketch book, with calculations to achieve step-dimension photographs, stacked up like a staircase, surrounded by text:
It could be an installation of photographs instead of the rubbings shown previously. It references the documentation of Sophie Calle, and links in with my reading of "The Everyday" edited by Stephen Johnstone, celebrating and noticing the everyday.
I've been representing the Bathroom Crack in etching, together with the mess there.
Zarina Hashemi's prints of the crack represent the political dividing line between India and Pakistan; Doris Salcedo's crack at the Tate Modern Turbine hall represented segregation and racial hatred. My etching of a crack represents purely and simply a crack. It was made by tearing paper in two and tracing the torn edges of each half, open biting to deeply indent the crack, then aquatinted it to darken it and make it more prominent. In a way this construction is a bit like the construction of Salcedo's crack, hers of course on a larger scale. The "splodge" mark to one side was made by pouring acid resist onto the plate, much like you might pour or spill toiletries onto the bathroom shelf.
I also tore up some flooring lino, inked it up and printed it directly - again to be the crack:
I also looked at the frayed carpet and produced a series of photos showing it's decay and journey, linking it with a description of decay in the domestic environment, through it's occupation. Here are pages of my sketch book, with calculations to achieve step-dimension photographs, stacked up like a staircase, surrounded by text:
