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migrating patterns


It's been some time but it's a boomerang back home of love and peace.


I was only just ruminating on some crunchy cabbage and maybe it led to momentary meditative chewing over thoughts processes work design cycles life patterns meaning content form site-specificity displacement emplacement replacement...

Today is Thursday, tomorrow is Friday.  Tomorrow will be the day of the birth of Geoff, my closest friend, dearest love.  I chose to make a pillow case for him. Of late we have both needed heavy buckets full of comfort. The fabric is printed.  One of my patterns is on it.  It is one that Geoff loves.

I was thinking of the environmental specificity of the work I make in surface design as much as in sculpture, looking at the incorporated material and environmental content. 

I was thinking of the tools I use in sculpture, simple tools, hammer nails buckets sponges brushes. Things that I feel are primitive, things that explain how they work by the way they look the way they are designed, things that I can reach and use without any help so that the relationship between space materials and body is kept as homogenous as possible as fluid as possible, no matter how minimal or monumental the work is.  I was thinking of the sculptural- (some call some of it installation work, I personally have a bit of difficulty with words ending in -tion, it's a sound that does not dance in my mind and is neither harmonious nor sharp or blunt enough its neither here nor there for me and I don't really like that) -work I make, its site-specificity, its reciprocity; it's a raw true, sensitive and humble exchange of body and space expressed via objects or objectified materials.  It does not take or give it’s just trying to find that line that point where the bubble in the level lies horizontal but one move and all is flux again.  


Surface design is part of that cycle, it is combining years of practice of research, mentoring, listening, sharing, considering into something wonderfully banal and completely unique, series of simple patterns made from the tangible stuff that is part of our very real good and bad everyday.  All made from stuff that is accessible to me easily, to every body easily.

It is about a way of seeing, about creating memories maybe stories definitely.  

It is about survival.  Since a very young age I have learned to survive very tough circumstances.  I have learned to cherish the bars of a chair under the seat as a safe home, a free home.  Finding freedom within the form.


So here into the cycle, boomerang the content back home. 
You see, the patterns I make are abstracted figurative details of the mundane.  It is important for me to celebrate that.  A lot of my everyday has been demoniquely horrendous in my life and in parallel outrageously wonderful.  So much so that I seem to have grown up believing that lightness does never come without darkness.  And so no surprise there is that place, being on the cusp, either it stays or it brakes and it’s not often planned but more about being careful in the process to watch for minute changes that may just go unnoticed but if noticed then they and I can turn things and life into an unpredicted wonderful series of patterns.  It's not just up to me, up to my predictive sketches ideas and so on it’s also about giving freedom to materials and processes releasing the product of that triangular meeting.  sometimes it nearly feels as if it is about accidental freedom within the form and considering a path into that, through and out of it and that informs a partially controlled process, it builds balance and equilibrium within flux.

So, the pattern on this fabric originates from the outside being moved inside. Objects light onto 3 dimensional form.  At the time like nearly every time I photograph shadows I have this slightly cringe-worthy moment of doubt.  I am not sure why yet but there is something I find pathetic about capturing shadows.  Maybe it is because it is not the thing itself but already an image of it, maybe it is the meaning attached to appropriated shadows, maybe that does not leave enough room for freedom within the form because there is too much symbolic attached to the form and the process. 

something found. Never mind all that or challenge that, I must have thought as I took the plunge and the shots. And they became this.


The shots were taken from a wall in our bedroom. And now they are about to return.  I understand how basic and simple this is and possibly completely meaningless. But it is meaningful to me in how simple it is.  It is still about seeing something, capturing it in its moment of specific existence somewhere keeping hold of it for a while making something with it and boomerang back home in site, specific to its origins.  It's a cyclical process that I love.


It always comes home, no matter what it is.



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