​​​The Light​

​Putting this work together with the structure I had built previously became more challenging than I had expected in that once the Polyethylene was positioned in a room that had an abundance of natural light, it was extremely noticeable that the 'black' sheet I had ordered was not at all black. It had let through more light than anticipated, and created a new dynamic that I was not exactly happy with. I think it would make a great work to play around with in the future with but not for this piece in particular. ('2637' on the 'Gallery' page stems from this moment and troubleshooting '2511')

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In addition to the sheet not being dark enough for what I had planned, the polyethylene had presented an interesting composition when not tied tightly to the steel. I enjoyed the textures it created through light and crimping of the sheet, and extremely so when we had the window open and it swayed in the breeze. Again, this was not what I wanted for this piece, but it has imprinted a new curiosity in what simple materials can exhibit without such a clean intention, and I plan to use this idea to my advantage in future experiments, draping loose material and working with it in a way *it* wants to work, rather than in a way *I* want it to work.

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Using "2448" from the "Where We're Calling From" Exhibition at Copeland Gallery, I combined the works together to ease the issue I had been dealing with due to light, and altered the amount of light that shines through the blue polyethylene, only letting small pinholes create an additional layer of texture. The pinholes were created through an alternative method of repetitive motions and emotionally charged obsession, while the process this piece was prepped to undergo was a similar but almost more violent method of mark-making.

 

The Layers

The layering of processes, materials, and emotional experience added additional meaning that was more than welcome to the work. I feel that layers as a metaphor and in its physical presence may not always be seen, or considered, but can sometimes 'poke through' and create depth to a situation. I noted that I could more easily recognize the psychological impact of compiling situations. Someone would very easily miss the sections where the bright blue pinholes shine onto the back of the front layer, but those who slow down, or stop and digest the work in its entirety would be rewarded with small moments of intimacy and collaboration between processes. 

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Reflections

I have two main reflections on my work that I feel I need to interpret and take into consideration moving forward in my practice. Both reflections stem from the same concern in the work, the edges. firstly, I was heavily debating having crisp clean edges to signify that presentation is not the whole story, what is beneath the curated surface may not resemble what one may believe, and the ugly, chaotic, and traumatized history lurks deeper if you dare stop and consider it. The taut, soft surface was also a way to create a skin-like surface, innocent, and pure, having started with nothing interfering or impacting it. Like a child, who will be the unfortunate victim of witnessing trauma scarring their perspectives on the world. in these regards I believe it was successful in its final form. However, secondly I believe there was a strong element to the first that I pinned to the back, '2448' where it hung in a space, creating a barrier, creating intentional ways of seeing through it, below it, or around it, but it also resembled skin in a different manner. It hung heavy like an animal hide, slowly dehydrating, aging, and curing in a butcher's shop. A place where things go to be disassembled, dissected, and deconstructed. A place where the bits and pieces buyers dont want, get separated and removed from its once life-giving, purpose-having intention.

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