Glassworks

I have been working away at the glass fronted amulet boxes over the past few months as one of several strands in my MA degree work. I was inspired years ago by an exhibition by photographer Fay Godwin and have wanted to work on something which acknowledged this influence. I have finally achieved this with my glass ‘nets’ which obscure and disguise the contents of the boxes they rest on. I had fun photographing this one against the sun-dappled asbestos walls of my 1950s garage!

Glass 'net' by Karen Griffiths

Images of my completed net work – “Black Velvet, Dark Night”

Hi everyone,

Just thought I would drop in to show you some images of my completed net work.

You can read more about “Black Velvet, Dark Night” on my website at http://www.peterlsmith.com.au/html/netwurks.html .

A system of interconnected lines

My response to the theme of networks came as a result of exploring a dictionary definition of the word network, as a ‘SYSTEM OF INTERCONNECTED LINES, a pattern or system that looks like a series of branching or interconnected lines’ (Bloomsbury Concise English Dictionary 2^nd ed., Rooney, ed. 2005, p.973).  This has prompted me to view networks as visual compositions, exploring these within the natural world.

My work aims to reveal the beautiful structures and patterns within these natural networks which are no less elaborate, complex or detailed than their technologically networked counterparts.

During the making process and the method of display that I have been considering, I have also begun to explore the ‘networks’ that the method of construction and stitching forms within the work also, allowing these to be revealed by displaying them in front of a natural light source.

Inspiration sources: Botanical structures and patterns in nature.

Nets project

These samples were experimenting with the use of ‘solvy’. The theme is the environment and how it is quickly degrading and being destroyed around us. The use of net like structures to hold the leaves was to link in the samples with the nets, but it could also be nodding towards the use of illegal fishing nets in our oceans that catch innocent sea-life and subsequently kill off members of the species that don’t need to be. It also hints towards the destroying of forests, which then leads into the loss of rare animals that no longer have a home because their habitat has been destroyed. The animals, in both cases, are now trapped, like the leaves in the middle sample. Their homes are no longer solid, like the leaves in the third sample.

Nets in Lodz

Julie Ryder sent a link to the Lodz Textile exhibtion in Poland. Her work is in the background of the general shots – some funnel shaped nets (- shots 17 &18 on the left). There are some other interesting net like structures http://www.muzeumwlokiennictwa.pl/czasowe/1/396,13th-international-triennial-of-tapestry-lodz-2010.html

Shifting signs: exhibition

I have nets (sort of, some) in an exhibition: Nicci Haynes and Genevieve Swifte, Shifting Signs. ANCA Gallery, ACT. Opens 6.00pm Wed 26 May, til 6 June.

netting the invisible

My work for the Nets Project focuses on the ‘un-seen’ out of which a net sifts its catch. The ‘un-seen’, such as clean air and water, are commodities which seem to have always been plentiful but are becoming scarce and polluted.

Seated right underneath a lamp, I have been knitting a rather invisible ‘yarn’ (thin sewing monofilament) on circular knitting needles to create two long narrow nets. My first attempt resulted in a mobius strip, as I couldn’t see that the knitting had twisted around the needle… Starting the following attempt I reinforced the set-up stitches in the first two rows with some visible sewing thread. This thread will be removed when finished.

The nets stretch out into a narrow point. Their shape reminds me of the nets held high with a long thin handle, used to catch flying insects on a summer’s day: a romantic, lofty and light image.  My nets however ask the viewer to take a different thought path.

Two nets: one to catch air and one to catch water.

I forgot to add to my previous post, that when I went to the local butcher to buy the skin, I asked for it in metres, and after I had been in for the third time, I was being asked to pay more for the same amount and he was considerably grumpy and unwilling.   So I left it for a few months, and then when I went back – I asked him for it by weight, and with a bright cheery voice he said, “no problems – as much as you like”.    So I guess the  moral to this story is, do not ask a non sewing male for sausage skin in metres!

.

Skin has fascinated me for a long time – a two dimensional multipurpose mesh surfaced organ encapsulating an ample and capacious body.    It can be slack or tight depending on age and weight.   It can be oily or dry, and responds to pain and pleasure.  It is a marvellous material with a network of lines especially on skin dried and damaged by the elements or in my particular case, worn with ageing.   It hides in its multiple layers nerves, glands and capillaries under its inert exterior.

My work is to show a network of lines  – a network of roads travelled  – telling the story of the life lived – through a body that shows the wear and tear of what has been.

Here are photos I have taken of what I have done so far – manipulating sausage    skin.

March meeting

Al Munro and her work

Last night we met at the art school to chat about progress of work. It was great to see how work had developing as well as people returning to their original ideas or processes that they had been using but with a greater and deeper understanding. The work we saw was really inspirational.

Al Munro has joined the group and showed her current work, describing the textile and drawing processes she has gone through to get to this paper cut out.

I’ll post images of others over the next few days.