CARBON photo by Les Brault

Comment

Comment by Resident Curator on August 2, 2014 at 8:57pm

Thank you for offering additional information on process and inspiration- it certainly adds to the richness of the piece! I also love your phrase 'I am part of the glorious array.' I'll certainly have to give that more thought.

Comment by Michele C. Leavitt on July 30, 2014 at 10:51am

Thank you , Ms. Woodcome for the time and attention you've given CARBON.  

Had I not responded to a challenge I would never have elected to work with these materials: duct tape, contact papers, specialty papers, aluminum foil, metallic fiber fabrics, candy wrappers, note book rings, eyelets, and jewelry wire.  

Studio Art Quilt Associates (SAQA) put out a challange to create a 'quilt' using as little fabric and thread as possible.  A pre-juried group were then assigned elements from the periodic table with the instructions: create a work 36" tall and 22" wide, that refers to both the element and quilting.  The Exhibition, Radical Elements, opened at the Cafritz Foundation Arts Center, Montogommery College, Takoma Park/Silver Spring Campus, April, 2014.

2" squares are a common size in the old quilts, so is the diamond form.  The pure forms of Carbon is daimond and abstract diamond shapes created from these squares are fairly common quilt design forms.  Carbon's pure forms are diamonds and graphite.  The more 'realistic' diamond evolved over time.  The piece is supported by a large glitter/black spray painted dowel, the piece is attached it with a series of notebook rings.  I drew the diamond out on brown paper and then drew the grid 'square' grid over that, creating the design for each sqluare unit.  Using duct tape turned sticky side up, I applied the shiny papers in the pattern for that piece.  Adding another layer of duct tape over the back, makes each square three layers deep, and stable enough to hold the eyelets then set in the corners. I pinned the squares in their position over the drawing.  The squares are then 'stiched with jewelry wire.

Yes, the visual effect of creating things by hand matters.  No two things aer ever exactly alike, perfectly arranged, or aligned in nature.  I am part of the glorious array. The unavoidable 'Imperfections' of the hand add to the wonder of it for me.  Thanks for noticing and sensing the nature of the "understated and perhaps unintentional irregularity of the shapes that balances the pure geometry.  The whole piece when hung the rod and away from the wall moves like chain maille armor and the reflective papers catch the light sparkling different colors as the view passes by.  

Comment by Resident Curator on July 28, 2014 at 5:42pm

Curator’s Comments:

While you didn’t offer any additional information on Carbon, other than what appears to be a photo credit, it appears to be an applique piece along the lines of your Dark Side and Egyptian woks. I’m enamored with what looks to be a pre-set hanging system of grommets and a rod, which presents a programmed and compartmentalized grid. The small squares in some ways echo the diamond’s facets- small angular pieces building up to and composing a larger form. But it’s the understated and perhaps unintentional irregularity of the shapes that balances the pure geometry. The slight tilting of the hanging squares, and break in direct symmetry of the diamonds cut fabric angles balance the regularity and conformity of the open hooks. The four “dots” further serve as faintly reflective elements that counter the handmade quality of the less regular spatial intervals. The image of The Dark Side offers more information on surface fabric sheen and stitched line work. But it also looks like a cropped section of a larger work. Perhaps Carbon is similarly tactile when viewed up close.